• Issues in Feminism
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• v.12 no.2
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• pp.69-103
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• 2012

By reviewing relatively recent theory of coercive control, which considers gender as a key concept to conceptualize domestic violence, this article explores battered women's experiences with police responses and institutional law enforcement. Using data and interviews from Korea Women's Hotline, this article analyzes the effects of state intervention which fails to support battered women and sends a message to the community that domestic violence is not such a serious crime. Specifically, this study found some problematic responses and attitudes of police and legal system: first, police is equating domestic violence with physical attacks or serious harms. Second, police and law enforcement personnel blame victims based on her gender performance or gender roles. Third, by individualizing the problem of domestic violence, state intervention ignores important structural factors that cause and perpetuate it. Finally, police and the justice system disempower and discourage battered women by exacerbating victim's fears and risks. Viewing domestic violence as a liberty crime, this study concludes that enhanced understanding of the nature of domestic violence only can contribute to solving the problem and protecting women's human rights.

• Journal of Korean Academy of Nursing
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• v.49 no.1
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• pp.46-58
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• 2019

Background: Dating violence refers to violence occurring between people in an intimate relationship. Forms of dating violence are often categorized into physical, psychological, and sexual violence, and most existing literature has followed this frame. However, few studies have focused on the phenomenon of living under the perpetrator's coercive control in victims of dating violence, although those experiences are known to be signs of severe forms of violence later on. Purpose: The purpose of this study was to explore the experiences of being coercively controlled in female victims who had experienced dating violence. Method: For this study, in-depth interviews were conducted with a total of 14 female victims, and all interviews were audio-recorded and transcribed. The data were analyzed using the phenomenological analysis method suggested by Colaizzi. Results: Three themes were derived in chronological order: idealizing the relationship (period of potential control), facing severer tyranny (period of coercive control), and escaping from the unending trap (period of post-control). The results showed that the victims experienced perpetrators' control with specific patterns. The perpetrators' controlling behaviors were invisible, literally benevolent, at the beginning; however, severe forms of violence seemed to appear as their relationship deepened and the perpetrators failed to control the victims. Conclusion: Findings from this study presented vivid experiences of female victims who needed help and care. Hopefully, the results can benefit in terms of developing evidence-based prevention strategies for victims as well as assessing the risks of severe forms of dating violence, such as physical attack or murder.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.301-338
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• 2021

John Woo's A Better Tomorrow arrived at the turning point of Korean society between 1987 and 1988. The Hong Kong movie boom that started here reached its peak around the 1990s. What does this phenomenon mean? Hong Kong action films have functioned as an important resource for Korean young male subculture since the late 1960s. The audience of A Better Tomorrow matches the audience of previous Hong Kong films in a generational and gendered way. The fascination of Hong Kong action films by young Korean men from 1987 to 1991 has nothing to do with Hong Kong's political context. However, a certain affect is shared between Korean and Hong Kong audiences. It could be said to be the brotherhood within the struggling group. The affective economies of this fraternity embodies the broad solidarity of 1987, the solidarity of comrades seeking to resist the violence of the world. It also works on symbolic and practical gender bias. In other words, this loyalty is nothing but loyalty between the (male) brothers who are confronting the injustice of the world. This is the "translational possibility" of A Better Tomorrow.

• American Studies
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• v.42 no.2
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• pp.31-55
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• 2019

This study explores how the patriarchal system instigates violence through the use of a lottery in "The Lottery" by Shirley Jackson and a reaping in The Hunger Games by Suzanne Collins. To maintain its validity, the patriarchal system makes people internalize the principle of homicide in everyday life. One of the effective ways to sustain the patriarchal system is to develop the gender concept clearly. In "The Lottery," traditional gender segregation results in the construction of a homogeneous community supported by patriarchal concepts. On the other hand, The Hunger Games shows how Katniss Everdeen, the main character, experiences the different gender roles and norms according to the specific surroundings like her hometown (the 12th district), Capitol (the capital of Panem), and finally the Hunger Games stadium, where she has to kill others to survive. In the end, Katniss both becomes a political entity through playing gender performance supported by Judith Butler.

• Issues in Feminism
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• v.18 no.2
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• pp.149-206
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• 2018

This essay is focused on finding women's voice in oral narratives of social memory of national violence and resistance. The books of oral narratives of women who had experienced the national violence and participated in the resistance through historic events such as 5.18, have been published recently. This study is based on the materials that have interviewed women experienced the historic event '5.18' in Gwangju. In this study, there are analyses of the materials of the memory of violence and resistance of '5.18', which have contained the texts written by intellectual males and the oral narratives of females directly involved. So far, the memory and experience of women have not been presented in its entirety in the field of social discourse of '5.18'. In the field women's words were translated in men's words, so the real words disappeared and in the end remained unspoken words. And besides, the existence of women are substituted with the limited images (for example women's body destroyed) presented by men's words in memorial materials. In narratives of '5.18', women are reduced to the images of bodies destroyed by national violence. The destroyed bodies are places for exhibition and disclosure of national violence. Women are not presented as the subjects of the social resistance in oral or written narratives of '5.18'. The images of females are only vehicles to urge the male subjects to resist against unjust violence. In this context, men are interpreted for the protectors of sisters, daughters, wives. Since 1980s, the symbol of '5.18 Gwangju' has represented the most ideal community in Korean society. But women have been on the borderline or outside of the community in fact. However, women intend to construct themselves as the subjects of resistance through the spoken words. They have tried to make the politic places for themselves in the social field by speaking and speaking constantly. The desire to speak out is becoming stronger for women, so these days more words are spoken by more women and more oral narratives made by women are revealed in social discoursive field. So the place for women's voice is expanding in social memorial field of '5.18'.

• Cross-Cultural Studies
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• v.50
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• pp.77-101
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• 2018

Even in our modern era, the projection of monsters in the recent literature contains the critical imagination of human existence for the posthuman age. The meaning of the monster-abject, especially as from the perspective of feministic criticism, contains criticism of the violent and oppressive patriarch as observed in the modern times. This article focuses on the gendered imagination of the discussions of the "abject" discussed by Julia Kristeva, and the "monstrous femine" discussed by Barbara Creed. Kim Eon-Hee's poems and Han Kang's novels, which have been examined extensively for analysis, show that the practical strategy of abject that goes beyond hate and sublime, wonder and joy through the imagination and concepts of monsters. The monster-abject strategy of Kim Eon-Hee's poem can be summarized by the narrative method of mirroring and the imagination of the truncated body. Mirroring falsification, which mimics the male speaker, is a method that some feminists strategically utilize in relation to the problem of female aversion in recent years as noted in the literature. In Kim Eon-Hee's poem, "becoming a man" and "imitating a man," through the method of mirroring appear as an image of cutting to dismantle the body. In that way, the narrative strategy of the abject that draws out abominations and bizarre effects which contains a strong critique of the patriarchal dominant ideology. The monster-abject strategy of Han-Kang's novel is embodied through the being of plants and the process of vegetarian-anorexia process. The world of the adject which was oppressed in the Han-Kang's novel, returns to the senses of the body through the symbol of the body. It is noted that the fictional characters who realize the repressed desire through the pathological symptom expressed by the female, go on to body perform active transformation. The sense of a body in a novel is not only a rejection of the world of animalman-civilization, but also a radically questioning of the noted and recognized boundaries between human beings and non-human being entities. The two writer's works show that the imagination of the monster-adject is not limited to rejecting the existing gender categories, but also goes in the direction of exploring the possibilities of various associated gender actions.

• The Journal of the Convergence on Culture Technology
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• v.9 no.3
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• pp.579-585
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• 2023

The purpose of this study is to explore keywords within stalking-related news articles according to political orientation through the text network analysis, and then to examine the implicit intentions. Selecting total 1,607 articles including 824 articles of the conservative press(The Chosun Ilbo, The Joongang Ilbo) and 783 articles of the progressive press(The Hankyoreh, The Kyunghyang Shinmun) reported from January 1, 2018 to December 31, 2022, this study explored the aspect of topic category drawn through the topic modeling technique based on LDA(Latent Dirichlet Allocation). In the results of this study, the common topics of the conservative and progressive press were improvement of the perception of gender-based violence, personal protection & intensity of punishment, and disclosure of stalkers' personal information. Regarding the topics differently shown in those two press, the conservative press showed stalkers' harmful act, and outline of 'murder case at Sindang Station' while the progressive press showed request for aggravated punishment on the 'murder case at Sindang Station', and eradication of sexual exploitation crime (in cyber space). The results of this study imply that there are changes in the type of reporting according to ideological opinions about stalking in news articles.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.22 no.11
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• pp.1481-1488
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• 2018

As female gamers are rapidly increasing, the misogyny and the misandry in game playing situation are also increasing. Recent #Gamergate and GodGunbae incident exhibit that such discriminative/hate behaviour in game playing can be developed into real physical threat or crime. In this paper, we investigate and analyze young Korean game players on how the attackers group, victims group, and gender-issue-indifferent group behave differently in game playing through survey. We found that male gamers had high hostile sexism against female gamers especially on females' game attitude and streotyped hatred with respect to the gender ${\times}$ group interaction. In big-5 personality test, however, it is not clear if attackers and victims had a noticeable different personality patterns. In result, we verify that there exist gender stereotype and high hostile sexism among young Korean gamers. Active gender-equality education on their adolescent period is necessary to avoid such destructive hatred in game playing.

• Journal of Korea Entertainment Industry Association
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• v.13 no.7
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• pp.237-245
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• 2019

Entry of women into the higher positions or professions in the fields of entertainment and performing arts has been expanding gradually. Especially, women working in these fields in New York show a dynamic growth and development. As a result, women surviving in a male-dominated world have raised their voices for their human rights to live free from violence, sexuality, slavery, discrimination, etc.. In the entertainment and performing arts, women have been shouting their voices for a long time through the theme, performance process, and the shows. Their voices influenced politics, society, and culture as a whole. The 'MeToo' movement is the result of condensation from their voices. In other words, it is the result of women's voices against sexual harassment or assault in these fields. Starting in Hollywood, the 'MeToo' movement was rapidly spread out online and strongly supported by female leaders and activists in the world. It had a strong influence on the fields of theater and entertainment industry in Korea as well. By recognizing this phenomenon, the contents of this study suggest how and what to continuously increase the value of the 'MeToo' movement in Korea's entertainment industry.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.429-465
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• 2019

This paper analyzed the ways in which "others" were reproduced in Korean movies in the 1970s. In the midst of the social changes of the era, such as urbanization due to rapid industrial modernization, many people became laborers for industry in order to obtain the fruits of modernization.But the landscape of others, which was inevitably produced in the process of constructing such subjects, has been limited to analysis that is focused on gender and youth discourse. This article aims to extract the landscape of others in the 1970s by adopting a different perspective. The way in which the other is present can be divided into the following two categories. First, in 1970s film, the family community, in contrast with 1960s film, has disintegrated and cracked, due to the inability of others to enter or leave the community. The desperate perception that the family community can no longer function as a stable foundation or center of the constitution, and that it cannot have a sense of security and belonging,is revealed through the way the others are wandering in and out of the community. Second, 'Death' is an element of social life in the violence of the national ideology of the 1970s, and the everyday exceptional state. The way in which the 'other' is completely eliminated from the normal subjectivity requested by the state and is deported in film reflectshow everyday death or potential death is part of life of the 1970s. Normal life pursued through rapid urbanization and industrialization leads to the death of the other beings, but the way of existence of others is the desperate reality of the 1970s, when the boundaries of the state that provide stability and belonging are broken. As a result, the landscape of others in the 1970s reveals a violent reality that destroys the perfect middle class family discourse that industrial modernization was oriented around in the 1970s, and that produced masses of others who caused numerous deaths. In spite of regime censorship, Korean films were popularly revealing the violence of life brought in by the 1970s, following a detour of representation.