• The Journal of the Korea Contents Association
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• v.13 no.6
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• pp.125-136
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• 2013

Director Choi Donghoon is the most famous director in Korea as a box office successor, especially (2102) has gained No. 1 box office attraction in Korean film history. However some critics have criticised the works of Dr. Choi because of their plebeianness. This paper focused on the reason of interaction with audiences through the theory of carnival of Mikhail M. Bakhtin. Because the theory of carnival is not only the adapted method to account for the power of popular culture to M. Baktin but also the useful method to understand the keys of interaction of Dr. Choi's films. It's not difficult to find the esthetic elements of carnival theory example for 'dethronement & coronation', 'overturn & ridicule', 'image of feast', 'language of square' in the films of Choi which are The Big Swindle(2004), Tazza: The High Rollers(2006), Woochi(2009), The Thieves(2012). Therefore this paper has endeavored that the box office attraction and success of communication with audiences is due to the realistic attitude and social reflection of Choi's films.

• KOREAN POULTRY JOURNAL
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• v.18 no.2 s.196
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• pp.68-73
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• 1986

본고는 미국 알칸사주립대의 이광 박사가 월간양계 독자들을 위해 특별기고한 것으로 카니발리즘에 대한 문헌을 체계적으로 정리, 3회에 걸쳐 게재하고 있다.

• KOREAN POULTRY JOURNAL
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• v.18 no.1 s.195
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• pp.99-102
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• 1986

본고는 미국 알칸사주립대의 이광 박사가 월간양계 독자들을 위해 특별기고한 것으로 카니발리즘에 대한 문헌을 체계적으로 정리, 3회에 걸쳐 게재할 예정이다.

• 주택과사람들
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• s.220
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• pp.24-24
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• 2008

공연 기획자이자 문화 컨설턴트인 유경숙의 지난 1년은 범인은 상상조차 할 수 없을 만큼 파란만장했다. 배낭 메고 떠난 그녀의 공연 세계 일주 여정이 그대로 담긴 저서 <카니발 로드&rt;가 기대되는 까닭이 바로 여기에 잇다.

• KOREAN POULTRY JOURNAL
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• v.18 no.3 s.197
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• pp.121-125
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• 1986

본고는 미국 알칸사주립대의 이광 박사가 월간양계 독자들을 위해 특별기고한 것으로 카니발리즘에 대한 문헌을 체계적으로 정리, 3회에 걸쳐 게재할 예정이다.

• The Journal of the Korea Contents Association
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• v.11 no.3
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• pp.190-200
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• 2011

Different from visible horror elements that confront the characters directly and do physical harms, invisible horror elements are expressed through suggestion and imagination and their realities are not disclosed. For the disclosure of the realities of invisible horror elements, they are expressed through the overturned relation between the subject and victim of horror as in 'The Others' or through body snatching as in 'The Happening' and 'Paranormal Activity'. The overturn of relation and body snatching are connected to cannibalism in that the former causes a sudden change of personality and the latter takes the body of others. Cannibalism and the change of personality belong to the formalization and illogic of lower order resulting from cannibalism. The meaning of invisible horror elements in films seems to be contradictory to the original meaning of cannibalism, which is entering the sphere of utopian freedom, but considering that the reversed role resolves conflicts and tensions from terror and gives relief from fear, the meaning may be consistent with the spirit of cannibalism, namely, entering 'the sphere of freedom. In this study, the author attempted to analyze how the expression and plot of films showing invisible horror elements are related with cannibalism.

• Iberoamérica
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• v.21 no.2
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• pp.25-52
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• 2019

Esperpento denotes a literary style in Spanish literature first established by Spanish author Ramón María del Valle Inclán that uses distorted descriptions of reality in order to criticize society. And esperpento's narrative strategy is similar in many ways to Mikhail Bakhtin's carnivalism. Especially Valle Inclán's first esperpentic theatre, Luces de Bohemia contained various carnivalistic elements of Bakhtin. The various techniques of Valle Inclán's esperpento used in Luces de Bohemia can be explained by Bachchin's carnivalist techniques. Therefore, this paper aims to re-examine the esperpentic techniques in Luces de Bohemia of Valle Inclán in terms of Bakhchin's carnivalism. Because the esperpentic tecniques of this play pursue the subversion of power or authority through the carnivalistic aspects such as polyphony, subversion of seriousness, parody, grotesque realism, plaza, ambivalence, anomalous structure of space, time and plot, etc. Esperpento and carnivalism serve as a tool to interpret the social reality, beyond criticism and satire of Spanish society. The characters act passively on all the external factors that determine human destiny, rather than actively carving their own destiny like the classic heroes. Modern man cannot defy or control the external situation of the modern civilization. So they are tragic. In this situation, the protagonist of the tragedy who challenges reality disappears and a puppet figure like Max Estrella, the protagonist of the Luces de Bohemia, takes his place on a satirical level. This is the satire and the true meaning of carnivalistic humor that Valle Inclán tried in his play.

• KOREAN POULTRY JOURNAL
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• v.50 no.12
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• pp.162-165
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• 2018

• The Journal of the Korea Contents Association
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• v.9 no.2
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• pp.173-180
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• 2009

In the recent past, the impression expressed by a human body expanded from that of aesthetic beauty to deformed organic medium influenced by environment. And the advancement in digital technology had made it possible to represent the deformed and distorted images of human body more realistically. Consequentially, these exaggerated physical images leave audiences with a feeling of grotesqueness. Chris Cunningham is a British director who mainly focuses on grotesque body as his subject matter using digital media. This paper will explore Chris Cunningham's work and his final goal through analyzing his carnivorous, uncanny grotesque body images, making use of the figital media, at each of his different levels.

• Journal of the Korean Society of Costume
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• v.59 no.7
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• pp.34-49
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• 2009

Carnival is an allowed chance to express ordinarily suppressed and overlooked emotions. Especially with strong meaning of daily overthrow masks, masquerades, and mask-costumes are essential for expressing methods and festival personality reasons. Carnival in modern society without losing a significant portion religion in a format suitable for the era of secularization and the transformation has been created of nothing, that is not a reflection of society is also a cultural phenomenon of its own internal social and external conditions through a variety of means can analogy cultural phenomenon is a stage. The purpose of this research comes from the carnival festivities, religious background, but the daily routine of life to know who joined his escape with the conduction of the role, going to enjoy the satire and humor, using the Dress to the eruption, which means that the form of the festival variety of analysis and with the victory of the expression of cultural phenomena and features on the festival and the dress for you should you wish to study.