• The Journal of the Korea Contents Association
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• v.14 no.10
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• pp.41-50
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• 2014

This study is the subsequent full-scale research of a TV drama writer who has been out of scholarly pursuits as it explores in-depth Su-Hyeon Kim's underlying consciousness with focusing on her male characters of the and . Su-Hyeon Kim shows difference which clearly distinguishes a melodrama from a home-drama by her own self control, a rare case in TV drama genres. This study, in her distinguished melodrama, analyses the writer's more clearly ignited consciousness. This study enlarges the result of the precedent study by applying the same Lacan's theory to the male characters with the study's female characters. Lacan's concepts of sexual difference notes that the sexual differences is not the product of the fixed differences from the biological organs or the inequal system, custom, but that of the psychological, cultural causes. According to Lacan's sexuation theory, the male subject is an all 'fractured' one of subordinating to symbolic/phallic order by becoming a exceptional being of breaking the order through a fantasy despite his existence of subordinating the order. The writer conceives men and women as the 'same', 'privative', 'fractured' subjects who search for the impossible phallic jouissance in their own different ways, which is the same method of Lacan's. Also the gap of 20 years of two works marks the writer's change of male perspective, in which shows being more accepting, more sex-neutral to a man who can only enjoy the phallic jouissance through a fantasy, while a woman who can enjoy both of the phallic and feminine supplementary jouissance.

• Sijohaknonchong
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• v.25
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• pp.175-209
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• 2006

This study focuses on Korean-American writer Hong-Eun$(1880{\sim}1951)'s$ American travel gasaes and sis who played an active role under the rule of Japanese imperialism. This study also investigates Hong-Eun's experience and expression on American travel and culture and discusses his changes in stream of consciousness. According to American travel sigaes which were published in the New Koren Times in 1936. 1937, and 1949, his consciousness can be summarized as follows. First travel siga depicts his inner conflict as a refugee who lost one's home country. That is to say. by observing Indians' losing identity and their miserable labor conditions, he developed his own critical eyes on American society. Eventually he missed his country desperately and sought for the ways of his returning there. Second travel sijo reveals his own agony about not be able to return his home country where he could Possibly visit. In other words, after suffering from his agony, it is evident that he started to take positive attitude towards American society and establish his own identity. Based upon Hong-Eun's changes in consciousness as a writer, the researcher hypothesizes that there exists Diaspora-Consciousness in his work. His consciousness is strongly related with his attitude towards his home country whether it Is positive or vice versa. When his home country declared her independence. his attitude towards immigrant society was positively changed, which was quite contradictory from his previous one. In this transition period, not only he accepted American ideology and life, but he re-conceptualized them as a Korean mode. In sum, Hong-Eun's mental traces lie on the core of hybrid and diaspora which Post-Colonial literature values highly of.

• The Journal of the Korea Contents Association
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• v.10 no.11
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• pp.102-112
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• 2010

This study is the secondary full-scale research of a TV drama writer, who has been out of scholarly pursuits. This study examines the Su-Hyeon Kim's differential and tendency in home-drama genre, who has been constructing a general idea of TV drama genre, namely a home-drama, and a melodrama. The purpose of this study is to reconsider the meantime both of exclusive evaluation by the functional measure of social norm, also by the feminism-based evaluation of her drama's supporting role of patriarchal gender ideology. By focusing on her recent highly popular home-drama (2008), this study shows that the writer used her own category grammar strategy of harmonizing both of convention and invention in genre. The conventions in genre are 'a big family', 'a pluralistic construction' 'a realism based on a everyday life', and 'a theme of love of a family with happy ending'. The invention in genre are 'a change of the 1st generation patriarchy', 'a change of the 2nd generation role of a housewife' and a change of the 3rd generation marriage customs'. Also this paper presents that the writer showed a humanistic tendency that pursues a recovery of both 'humanity' and 'love of family based on trusting', which have been destroying by capitalistic ideology, rather than discussing whether her tendency on the gender ideology of patriarchism is conservative or not.

• Korean Security Journal
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• no.13
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• pp.279-303
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• 2007

The Study on the Film, as the one of the main fields in the cultural studies, has the significant meaning in analyzing our society in that culture represents the realities of the present society. Film is the metaphorically expressed text and the specific space where a variety of discourses cross. The director's social consciousness projected in the film must have the ultimate significance through the dialectic relation between the intention of the director and the interpretation of the audience, not through the his one-sided message to the audience. This paper focuses on the analysis of the movie 'The Host', which is evaluated to show the meaningful social phenomena related to 'disaster' among the recent movies in Korea. The Host which is characteristic of 'the open structure' can be referred to as the film reflecting the imperial order prevalent in the colonial society.

• The Journal of the Korea Contents Association
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• v.7 no.2
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• pp.237-245
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• 2007

When reviewing animation based on a mythical motive, the mythical imaginary power has been dependent only on audio visual senses thereby resorting to a fantasy nature regardless of reality, or there has been too much emphasis on an educational message and animation has been utilized as a conflicting composition between good and evil. Therefore, this thesis reviewed 1) whether the author's consciousness was reflected in animation according to the contemporary interpretation of mythical imaginary power and 2) whether the author included an internal meaning of a universal subject by having a short animation that was produced by actively utilizing a mythical motive as a text. Also, based on the analysis, the study deduced the conclusion that the most important thing in animation based on a mythical motive is the author's consciousness that reinterprets the theme of 'universality' from a contemporary perspective before expressing the mythical objects through the senses such as by a brilliant image and sound. The products of such an analysis are supposed to solve the problem over how mythical factors need to be applied and utilized in creating animation.

• The Journal of the Korea Contents Association
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• v.16 no.10
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• pp.573-587
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• 2016

This study is the one of the first full-scale subsequent research of a TV drama writer who has been out of scholarly pursuits. Along with the 5 advanced research, this study is to analyze Su-Hyeon Kim's difference and her underlying consciousness by applying the Bahktin's dialogism to the author's creating lines instead of existing speech research. Bahktin's dialogism, its core of polyphony, presents a definite purpose to a artistic creation of language. That is to require the author to have 'outsideness' 'boundary carried over' and 'excess of seeing' in a author relation with characters as it leads the characters to 'the whole'. It means an equal relations of mutual independency between the author and the characters. Also this relations accompany by 'unfinalizability of dialogue'. This study ascertains whether the dialogism actually being realized or not in her lines of of her early stage, of melodrama, and of home-drama. The result of this study shows that the she creates 'polyphony', diverse voices of characters, with her mutual independent relations with characters, that is the voices of between characters, between characters' inside. This research also shows that she realizes 'unfinalizability of dialogue' in her drama work itself of open-end as well as in her lines. She has her own consistent distinction of creating lines to be a her drama work itself, that also means to explore language of human beings's existence, and language of perception, instead of using it as a simple tool of making a drama. This study is to explore a subsequent research of the author's lines with another Bahktin's carnivalesque as the lines's importance and the theory's vastness.

• Journal of Korea Entertainment Industry Association
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• v.14 no.2
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• pp.27-40
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• 2020

Recently, popular entertainers have contributed significantly to the achievement of TV program and exportation, which make them attract more attention. Therefore, this study investigates the relationship perception of broadcasting entertainers in inductive interview study. Thoughts of entertainers can affect theirs' behavior and attitude as well as value and thought, which makes it necessary on celebrity studies to examine entertainers' ideas. This study divides into drama and variety show for genres and cast portions are classified into three categories; leading, supporting, and minor role. We conducted an interview study on 48 entertainers in drama and variety entertainment programs and have explored data by using Nvivo 11 program. Entertainers' perception on their relationship in program can be sub-categorized into ideas on PDs, script writers, and colleague entertainers. Perception on PD revealed significant difference on consciousness on PDs' and script writers' authority, treatment, and communication. In addition, perception on colleague entertainers revealed significant result on colleague membership, relationship between seniors and newcomers, competition, and communication with colleagues. Because this study covered all relationship perceptions, and it is possible to come up with new practical implications, it is difficult to suggest diverse guidance for the harmonious awareness of entertainers. Therefore, future studies should be analyzed to address these limitations and provide more implications.

• The Journal of the Korea Contents Association
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• v.14 no.2
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• pp.94-102
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• 2014

Dir. Kim, Giduk's first work is (1996) which was created a new character and episode which disregard the main trand movie. His emotion in his film is over the reallife and common sense. His emotion is attached to the primitive feeling. He is called the tererist of Korean film culture. This thesis studys on the allegory of kim, Giduk's film world by Kim, Sunam's 'Korean auterism' which discusses dir.'s film work on the base of the background of filmmaker and his view of life. And also to represent film image he used space, water, color, repeated same meaning oposition by the usual image of rhetoric.

• The Korean Publising Journal, Monthly
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• s.223
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• pp.18-19
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• 1997

올 가을 출판계에 문학평론집의 작황이 풍성하다. 이들 평론집은 우리 문학과 작가들이 더이상 이 시대의 위기 속에서 안전하지 않다는 첨예한 문제의식을 담고 있다. 미시적인 현장비평에서 거시적 담론에 이르기까지 90년대 문학환경에 대한 자기반성이 적극적인 발언으로 표출되고 있다.

• The Journal of the Korea Contents Association
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• v.21 no.7
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• pp.105-118
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• 2021

The purpose of this study is to explore the American Youth Film Director Damien Chazelle and his cinema world. Chazelle as a youth director directs three movies as (2014), (2016), (2018) in Hollywood, and represents youth directors in Hollywood. For this study, adopt two research methodologies which are 'Auteurism' and 'culture studies', and explore traits of esthetics, subject and context meaning by analyzing representative three movies. Lastly examines significance of his movies in Hollywood history. This study concludes that Chazelle is a 'Auteurism director of self-reflexivity' who has three things in common as 'narrative: success myth', 'mise-en-scene: Chazelle's world', 'self-reflexivity: Auteurism film directing'. Youth film director Chazelle is opening up the future of Hollywood as a 'Auteurism film of self-reflexivity' and the creative film directing of the youth generation.