• Korean journal of communication and information
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• v.18
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• pp.305-331
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• 2002

This study discusses on the historical origin of audience movement in Korea. Most relevant studies suggest that the audience movement in Korea originated from the struggle against the Press Ethics Committee in 1964. But, this paper attempts to trace some historical cases before that time. This study analyze two historical cases in the beginning period of modern newspaper in Korea. One is the setting fire of Bakmunguk(office building of Hansung-Sunbo, the first modern newspaper in Korea) in 1884. It was caused by the anti-Japan recognition of the public, who thought that the Hansung-Sunbo was influenced by Japan in many respects. The other is the donation campaign by readers to aid the newspapers which were in a financial predicament. It was carried for the Hwangsung-Shinmun in 1903 and for the Jeguk-Shinmun in 1907. This study suggests that we may regard these two historical cases as seminal forms of audience movement, and argues that the historical origin of audience movement in Korea can be traced to the beginning period of modern newspaper.

• Journal of the Korean Society of Costume
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• v.62 no.4
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• pp.164-180
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• 2012

This study focuses on the hats in the advertisements of the newspapers from the Greater Korean Empire to the Time of Independence. There were Yeomo(禮帽), Jungsanmoja(中山帽子), Jungjeolmoja(中折帽子), Women's hat, Undongmoja(運動帽子), and Hakdomoja(學徒帽子) from 1897 to the 1900s. The names of the hats were written with Chinese characters as there was no specific name for women's hats. There were a lot of hats in the 1910s; Jungjeolmoja, Jungsanmoja, Hukyeomoja(黑禮帽子), Panama, Doriuchi(鳥打;とり-うち), Maggomo(麥程帽), Ilkyomoja(一交字帽), cheongyeonmo(靑年帽), Jajacheongyeonmo(刺子靑年帽), Hakaaksangmo(學生帽), Undongmo, Laparyunmoja, Banghanmo(防寒帽), Mokchulmo(目出帽), Pungbangi(風防耳), Nambaui, and Pungdongi(風憧耳). Most of the hats were western hats for men. From the 1920s to 1930s, the hats were classified as to the shape and uses as compared to before that period. The hats were advertised in the newspapers such as Jungjeolmoja, Jungsanmoja, Panama, Doriuchimo, Maggomo, Ilkyomoja, cheongyeonmo, Jajacheongyeonmo, Hakaaksangmo, Undongmo, Banghanmo, Mokchulmo(目出帽), Adongmokchulmo(兒童目出帽), Pungdongi, and Pungchasamsangun(風遮三山巾). There is little information about hats from the late 1930s to the time of independence because of the censorship of the press. The hats during that period were almost the same as the before that time. There was a new name of a cap, Jeontumoja(戰鬪帽子) which was for a soldier. The hats in that period were one of the westernized items with shoes before the westernization of the Korean costume under Japanese imperialism. Furthermore, the western hats could be spread by the men who were in the center of the society. On the other hand, women's western hats were not common because women had rarely worn them before that period. They just wore traditional winter caps steadily.

• The Korean Journal of Archival Studies
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• no.62
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• pp.225-258
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• 2019

Since the opening of Joseon in 1876, the photographic records of the late Joseon Dynasty and the period of the Korean Empire exist more than expected, considering the technological level and the social situations at that time. Photographs related to Korea can be distributed in various forms, such as illustrations of books printed to introduce Korea to Western society, plates of graphic journalism like newspapers or magazines, vintage prints, photo-postcards, stereo-photographs, card-type photographs, and lantern slides. There are still a great deal left in various archives of the Europe, America, Japan and Korea. According to related researchers, Korean-related photographs taken between 1863 and 1910, since Koreans were first photographed, were at least 3,000 to 4,000 cuts and the photo postcards issued was 25,000. It is said that most of them exist. This paper categorizes two ways of producing and distributing photographic records related to Korea, which were early modern times. The subjects of the photographs are clearly Korea or Koreans, but most of the producers of these photographs were Westerners and Japanese, who were imperial servants of imperialism. In the case of photography, there is a great possibility of distortion of the facts depending on the needs or perspectives of the producers. In order to correct the distortion, not only the contents of the photograph but also the intention of the producer, the production and the communication status should be grasped. This is because the problem of reading photograph records accurately and fairly in an age where there is no real experience is the cornerstone for understanding modern Korea correctly and broadly studying the Modern History of Korea.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.16 no.7
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• pp.4992-4998
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• 2015

The purpose of this study is to investigate that which Goon office buildings were reused from existing buildings and to identify remodeling and extension ways of the reused to match Goon's administration work. This study used literature research method, i.e., analysing the digital images, the annotation, and the official documents between the Japanese government-general of Korea and To(道), and articles of newspapers and journals. The reused were governmental offices of Joseon(朝鮮) dynasty, existing Goon office buildings of Korean empire government and old buildings with unknown purposes. They were remodelled and extended to match Goon's administration work. Common remodelling was making large space with desks for civil petitions and projecting an small entrance from the center of main building's facade. Common extension was constructing accessory buildings with simple wooden structure, locating them to back or side of the reused, and connecting them through external corridor. As many as 30% of 218 Goon office buildings were reused. About 57% of them were replaced as new office buildings, however the number of the new was rapidly decreased after mid 1930s.

• Journal of Korean Society of Forest Science
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• v.84 no.1
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• pp.48-62
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• 1995

In the paper, the forest policy of Korea during the period of 1906 to 1910 under the spheres of Japanese influence was revisited by considering the incident of attempting sales of the old Crown forest reserve in Wando to a Japanese business man with a failure and the national forest policies of the Residence General in Korea of the Japanese Imperial. The factors, both the internal and external, behind the scene of the incident are considered for the explanation for the development of the incident with the forest reserve in Wando. The forest policy during the period considered involves the exploitation of virgin forests in the northern provinces near the rivers bordered with China and Russia, the introduction of forest law, which is the first modern regulation enacted with the heavy influence of the Japanese interest in the colonization of Korea. The intentions of the Japanese Colonial Power for the exploitation of forest resources in Korea were interpreted by investigating the report on the situation of forest ownership in Korea prepared by Japanese forest officers who surveyed the Korean forest areas by sampling just before the beginning of colonization.

• Journal of Nutrition and Health
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• v.12 no.2
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• pp.1-13
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• 1979

성장발육하는 시기에 영양과 성장하는 아동들의 체위와는 밀접한 관계가 있고 또한 영양부족과 그로 말미암아 자라나는 이학적 소견과도 불가분의 관계가 있기 때문에 그동안 우리나라에서 부분적, 단편적으로 연구 발표된 문헌을 중심으로 그를 검토 고찰하여 보았다. 그 결과를 요약하면 다음과 같다. 우리나라 아동들이 출생후 6개월까지는 주로 모유에 의존하고, 약간이 인공영양에 의존하고 있는데, 이 시기에는 다른 선진제국의 어린이들의 성장발육과의 별 차이가 없었다. 그러나 이유기인 $6{\sim}30$개월 사이에는 우리나라 어머니들의 이유에 대한 지식이 빈약하고 이들 음식물을 그대로 아기들에게 적용하기 힘든 이유등으로 아이들에게 보급해서 주는 음식물이 빈약함으로 말미암아 다른 선진제국 아이들에 비해서 이 시기에 체위가 많이 떨어지고 빈혈현상을 나타내는 것을 볼 수 있다. 이때 고양군에서 농민의 아동들에 대해서 시행한 영양조사 내용을 보면, 전체 칼로리도 부족되고 특히 단백질, 철분, 칼슘, 비타민 A, B복합제가 전반적으로 부족되는 것을 알았다. 이는 어머니들의 육아와 이유식에 대한 지식의 결집도 중요한 역할을 했겠거니와 더욱더 중요한것은 우리나라 어른들의 식습관이, 민족적 전통적으로 짜고, 매웁고, 딱딱해서 이를 아기들에게 그대로 적응해서 먹이기가 힘든 것도 더 중요한 이유가 된다. 어른들을 위한 음식물에도 맵지 않고, 짜지 않으며, 아기들도 즐겨 먹을 수 있는 유동식 혹은 반유동식으로 된 영양가치가 좋은 음식물을 발전시켜 애용하도록 하는 것이 민족적인 긴급한 과제라고 하겠다. 그렇지 않으면 선진제국 모양으로 이유기에 있는 아이들을 위해서 아이들이 즐겨 먹을 수 있는 이유식을 크게 발전시켜서 이유기의 아이들에게 저렴하게 공급할 수 있는 생산공장과 제도의 마련이 긴급하다고 하겠다. 우리 민족의 체위를 향상 시키는데 영양학자와 영양사들에게 기대 하는 바가 크다. 육아하는 어머니의 교육정도와경제적인 면이 아기 체위에 주는 영향에 대한 연구에서는 교육정도가 높고, 경제적으로 좋은 위치에 있는 엄마가, 교육정도가 낮고 경제적으로 가난한 위치에 있는 어머니보다 아이들 체위에 훨씬 좋게 기를 수 있다는 것을 알았다. 특히 이유기에 들어간 6개월 이후에 체위 격차가 심한 것을 볼 때 보충해 주는 음식물의 적절한 보급이 얼마나 필요한가를 말해 주는 것이며 이에는 어머니의 교양과 열의와 경제적 뒷받침이 얼마나 필요하다는 것을 말해주는 것이다. 지역별로 서울에서 부유층 가정과 학교 아동, 농촌 지역 가정과 학교아동, 강원도 산간지역 가정과 학교 아등으로 나누어서 자라나는 아동들의 체위와 이학적 소친을 연구 조사한 바로는 서울 부유층이 제일 좋고 그 다음이 서울 빈한층, 강원도 산간지역 아동의 순으로 좋았으며 농촌지역 아종은 체위가 가장 떨어졌다. 구각증, 구내염등은 강원도 산간지역 아동에 제일 많고, 다음이 농촌지역, 서울 판자촌지역의 순으로 많으며 서울부유충지역이 가장 적어서 이는 산간일수록 또 는 빈한할수록 등물성단백질이 부족되는 것을 말해 주는 것이다. 지역별 혈색소치는 109gm/100ml 이하인 경우가 서울 빈한층가정 아동에 제일 많아서 51.7%나 되며 다음이 산간지역가정, 농촌지역가정의 순으로 많으며 서울부유층가정 아동은 2.2%에 지나지 않는다. 한국아등의 체위와 일본아동의 체위를 비교해 본 바로는 출생 후 약 12개월까지는 별차가 없지만 그후로는 점차로 그 격차가 심해져서 $12{\sim}15$세 사이에 평균체중면에서 5kg정도, 신장면에서 5cm정도의 큰 격차를 나타냈다. 그러나 그후로 성인이 되어감에 따라서 그 격차는 좁아졌다. 이는 일본국이 경제적으로 우리보다 우위에 있음에 따라서 아이들 성장에 필요한 영양분을 적기에 적당하게 공급해 주었기 때문이며 우리는 많은아이들이 가만하기 때문에 그 나이에 맞는 영양분 보급을 적당히 하지 못한 결과로 생각할 수 밖에 없다. 한국 아동의 발육표준치를 1965년초에 측정한 것과 1975년도에 측정한 것을 비교해 본 결과 1975년 치는 1965년도치에 비해 체중과 신장 면에서 상당히 증가하였다. 이는 우리라라 경제상태가 좋아지면서 굶는 아이들이 적어지거나 없어졌을 뿐만 아니라 식품 내용이 개선된 때문으로 해석된다. 따라서 민족의 체위가 개선되고 향상되려면 제일 먼저 해결되어야 할 문제는 국가의 경제력이 향상될뿐만 아니라 빈부의 격차가 적어져서 우리나라에 생을 받은 사람은 누구나 굶는 자가 없이 균형 있는 영양분을 충분히 섭취 할 수 있는기회를 갖도록 되어야 하겠다. 영양학자와 식품관리자들은 우러나라 아이들이 타고난 체위의 잠재성을 충분히 키우기 위해서 어떠한 음식물이 얼마나 필요한지 계산하여 이를 작물로 충분히 충당할 수 있도륵 계획해서 농수산물을 생산하도록 해야겠다. 영양학자들은 우리 민족의 음식물을 개선해서 아기들이 즐겨 먹을 수 있는 어른들의 음식물, 영양식을 발전시켜 이유기에 받는 우리 어린아기들의 수난을 조속히 극복하는 것이 바람직하다. 또한 영양에 대한 교육을 국민학교, 중학교 교과과정에 많이 넣어서 교육하고 영양에 대한 교육과 보급을 조직적으로, 신문, 라디오, 텔레비젼등을 통해서 성인교육을 강화해서 모든 국민들이 적은 돈을 가지고도 보다 나은 영양물을 구해서 섭취할 수 있는 지혜를 가지도록 해야겠다. 국민학교 재학중 및 졸업시기를 전후딘서 체위가 많이 떨어지며 그 영향이 일생동안 간다는 것을 감안할 때 국민학교에서 점심 한끼라도 영양식을 보급해서 우리 국민체위 향상을 위해서 나라에서 직접적으로 공헌하는 바가 있었으면 한다.

• Journal of Popular Narrative
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• v.25 no.2
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• pp.117-167
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• 2019

The aim of this article is to illuminate the Park Yeol(朴烈)·Kaneko Humiko(金子文子) Case from the perspective of performance, by analyzing newspapers published in Colonial Korea. The Park Yeol·Kaneko Humiko Case include the High Treason Incident(大逆事件) case and the mysterious photo(怪寫眞) case that occurred in Tokyo in Imperial Japan from 1923 to 1926. Even though Park Yeol·Kaneko Humiko were individually imprisoned during this period, they proceeded to act shrewdly and preposterously as performers. First, they made the trial itself into an astonishing case by donning traditional Korean clothes and insisting on using the Korean language in Japanese Imperial Court. Second, they caused the judge in charge to accidentally take the so-called 'mysterious photo,' which later led to the collapse of the Japanese cabinet. The newspapers published in Colonial Korea served as unique stage on which Park Yeol and Kaneko Humiko performed. The newspaper articles reported on the public trials as if it were a drama, describing their clothes, look, and dialogue in public court. The news about them was published not as it occurred but in a plotted sequence because of a press ban, consequentially building suspense among readers. Meanwhile, the Korean newspaper editorials pointed out the injustice of the High Treason Incident, breaking down the Japanese judge's opinion. The Park Yeol·Kaneko Humiko Case was a social drama that revealed the disharmony that led to the breakdown of Taisho Democracy and imprinting national resistance in Japan as well as in Korea.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.13-51
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• 2021

As a case study, this paper historicizes the film culture in Namchon district in Keijo(京城) based on a preliminary research on the film ephemera produced during the colonial period. Through cross-examining articles appeared in Japanese newspapers and magazines at the time, this paper empirically reconstructs the Japanese settlers' film culture in Keijo, a colonial city whose cultural environment was ethnically divided into 'Bukchon' and 'Namchon.' During the silent era, movie theaters in the Namchon district not only played a role of cinema chain through which films imported and distributed by Japanese film companies were circulated and exhibited but also served as a cultural community for Japanese settlers who migrated to a colony. The film ephemera issued by each theater not only provided information about the movie program, but also connected these Japaneses settlers in colonial city, Keijo to the homogeneous space and time in Japan proper. Both as a minority and colonizer in a colony, these Japanese settlers experienced a sense of 'unity' that could 'distinguish' their ethnic identity differentiated from Koreans through watching movies in this ethnically segregated cultural environment. In doing so, they were also able to connect themselves to their homeland in Japan Proper, despite on a cultural level. This is a cultural practice that strengthens a kind of long distance nationalism. Examining Japanese film culture through film ephemera would not only contribute to the previous scholarship on modern theater culture and spectatorship established since the 2000s, but also be a meaningful attempt to find ways and directions for film history research through non-film materials.

• Cartoon and Animation Studies
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• s.30
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• pp.139-168
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• 2013

This article aims to explain the significance and value of cartoons in the 1910s which were largely passed unnoticed in the preceding cartoon studies by scrutinizing cartoons published in Maeilsinbo in the 1910s. Until now, Korean cartoons in the 1910s has been neglected just because it were published in Maeilsinbo. However, this writing analyzed cartoons in this period on the base of the fact that the cartoons in the 1910s printed in Maeilsinbo diversified the horizon of the Korean cartoon. Cartoons in Maeilsinbo functioned as a bridge connecting cartoons published in Daehanminbo in 1909 reputed as a root of Korean cartoon and 1920s, the time when satirical cartoons and comics started being printed in newspapers. The characteristics of Maeilsinbo as a bulletin of government general and periodical characteristics that the agent of popular culture begun to move reside as multi layers in the cartoons in the 1910s. In this article, the process and the development of how cartoons published in Maeilsinbo. As pleasure became important in everyday life in Korea, cartoons were able to earn a portion in the newspaper. In the beginning, modern cartoon style seemed vague, but as time goes by, its own style gradually settled. Cartoons in this period were not fixed in specific section but various kinds of cartoons were developed during the time since works of Korean as well as Japanese cartoonists and illustrators were published. Among them, representative cartoons in Maeilsinbo were analyzed in this article under three categories: first, cartoons represented 'Choseon-ness' through scenes of daily life and customs concurrently contained a view of anti-civilization/enlightenment; second, cartoons represented the accumulation of wealth as valid from the view point of public interest; last, cartoons divided Koreans who suffered from hardships of life in Kyungsung and Japanese in Jingogae in order to divide space. In conclusion, Maeilsinbo disciplined the colonized, Koreans, and exposed the discourse of the colonial power via cartoon.