• Korean journal of communication and information
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• v.43
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• pp.385-426
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• 2008

This paper focuses on how international marriages among Asians have been represented by the Korean media. Due to globalization, the so-called 'ethnoscape' has changed, and so ethnicity or racial identity within the boundaries of the nation-state changed. The recent diaspora of Asian women into Korea through international marriages has reflected how globalization has proceeded at a regional or local level. This paper attempts to analyze Koreanmedia discourses on the Asian female diaspora. This study analyzes what kind of generic forms TV dramas, other shows(TV reality programs, TV journalistic programs), movie and internet have employed to represent international marriages and how they have portrayed the subjectivities of the Asian female diaspora. This study discuss how this representation has been contested by the 'realities' of their international marriages. By examining how the Korean mainstream media have dealt with the conflicting issues of the Asian female diaspora, this paper intends to look critically at how local discursive practices have substantiated the changing ethnoscape. As a result of the study, this paper can find international marriages among Asians have been represented by Korean media still patriarchal system in male-oriented society. The otherness of Asian women justify the strong work of household affairs, and so justified life is standardized 'a kind of daughter- in-law', 'a complaisant daughter-in-law' in the process of migration. Also the otherness of Asian women standardized 'a victor' or 'a harmer' through international marriage of money that commercialized 'sexuality'. After all Korea media discourse on Asian women's international marriage, the gender issues on it have not been focused on a serious level.

• The Journal of the Korea Contents Association
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• v.15 no.6
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• pp.191-202
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• 2015

This research aims to analyse gender identity and its internal meanings through the main character, Laurence, of the movie (2012) directed by French-Canadian film maker Xavier Dolan. Study examines performative gender identity revealed through the fashion images of Laurence who was born biologically as a man; depending on a theory of Judith Butler who represented a parody, repeatability action, and incorporation as an effect of gender identity. Also 'Internalization of others' and 'Dis-identification' are presented as an internal meanings of Laurence's gender identity which appeared on his(her) fashion images. Laurence parodies woman's fashion styles in repetition to obtain feminity as his(her) appearance. His(her) repetitive actions are construing an internalizing others(women) and visualizing a new-self to become a stylized doer. Dis-identification signifies that gender can be reconstructed regarding the differences of the place and the time and reconstructed outside can be analyzed as externalization of internalization. 'Becoming a woman' means more than what it sounds like to Laurence. It means a new signification of being a woman or redefining gender identity. That is something can be called a genuine transformation and a grant leap for Laurence.

• Journal of the Korea Society of Computer and Information
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• v.17 no.3
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• pp.143-155
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• 2012

This study explored the essential meanings of experiences that married immigrant women living in rural communities have in their community participation process and analyzed the situations and types of their community participation in order to support immigration women's community participation and develop strategies for social welfare by type of community participation. For these purpose, we analyzed story outlines, meanings, types and situations of community participation among married immigrant women who had been over 5 years since their immigration. According to the results of this study, the meaning of married immigrant women's community participation was "Recognize myself as the pioneer of my life and participate in social activities continuously." In the results of analyzing the types of participation, the subjects were classified into 'self directed growth type,' 'self content type,' and 'social support expectation type.' The results of this study are expected to be helpful to understand the life of married immigrant women in rural areas not as 'individuals' otherized in a foreign country but as 'participants' of community that are encountered naturally in daily life, and to develop community level services suitable for such women.

• Cross-Cultural Studies
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• v.19
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• pp.181-204
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• 2010

This study analyzes the meaning of madness shown in the female narrative, focusing on two novels- "Before the Operation" by Mei Niang and "Madman's Diary" by Baek Shin-Ae. The novel "Before the Operation" reveals women's instinctive desires through an insane woman and brings up a problem of unfair suppression caused by patriarchism. On the other hand, the heroine of "Madman's Diary" shows madness when she is at a crisis to be 'the other' in the patriarchal system. Her madness is caused because she fails to find the meaning of her presence in the system. Interestingly, a woman who departs from moral standards of patriarchy (from "Before the Operation") becomes thefocus of public censure while a man (from "Madman's Diary") who also ignores those standards seems to be a victim. In "Madman's Diary", the man's wife is accused of being mad while he draws sympathy as a victim. This shows that those moral standards have duplicity. At this point, the heroines who continuously adjust themselves to the system express their madness. In other words, the madness implies a stern protest against the moral standards applied differently to men and women. It is unique that the two heroines of the novels become 'sane' when they encounter thematter of 'being a mother'. When it comes to "Madman's Diary", 'being a mother' of the insane woman who becomes 'the other' in the system foretells dismal future. Meanwhile, Mei Niang indicates the way- 'being a mother'- to overcome the dismal future through "Before the Operation". In this case, the mother is not a figure that reproduces the patriarchal power structure, but an independent figure who wants to change it. For that reason, 'being a mother' has the meaning of subversion and resistance.

• 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.44
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• pp.191-209
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• 2016

This article aims to analyze the perception of Korean-Chinese in South Korea to understand the mentality of South Korean people in a multicultural society through exploring Korean films in which Korean-Chinese characters have been represented since 2000. For this purpose, Korean-Chinese characters represented in Korean Films are divided into male and female. It could be said that South Koreans are biased against Korean-Chinese, who are considered 'others' under the economic and cultural hierarchy. Female characters are presented as 'pure' and 'frail' in the migration narrative while male characters are 'indecent' and 'brutal' individuals in crime narrative films. Meanwhile, Haemoo [Sea fog] is a story about economically weak Koreans and Korean-Chinese who were in economical conflict with each other, but were victims of the economical restructuring systems under neo-liberalism.

• Korean journal of communication and information
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• v.27
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• pp.63-91
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• 2004

The purpose of this study is to investigate the gender discourse of Korean newspapers. For this, the study analyzes the frames of frames of crime news on Chosun Daily and Hangyurae Newspaper for 2 years. The data are collected using KINDS, and include 265 crime articles involving woman. According to the results of this research, the episodic frames are used in the most of crime news. The five frame devices are founded in the episodic frame articles; the male subjectivity and the female objectivity, the male-oriented perspectives which reporters have, the abused sexual details and sensationalism, the emphasis of women body's fragility which imply woman's unavoidability as victims, and finally, blaming women who are victims of crimes. And in the articles of thematic frames, the similar frame devices are found. In particular, they only emphasize the problem of crime and fail to suggest a concrete resolution. Finally, the study discusses the findings relating to the patriarchal news making convention and the commercialism of newspaper industry. The two newspapers have been pursuing quite different political lines in Korean society. It is generally considered that Hangyurae newspaper is progressive and Chosun Daily is conservative. However, this study reveals that the way dealt with women in the crime news are not different. It is concluded that Korean newspapers still produce the gender discourse based on male-centric perspective and patriarchal ideology.

• Journal of the Korean Society of Clothing and Textiles
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• v.30 no.12 s.159
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• pp.1737-1746
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• 2006

The purpose of this study is to present a concrete image of the ideal beauty as shown in era preceding 1945 that effects the shaping of our aesthetic values; by analyzing its characteristics through the covers of women's magazines of that period, this research aims to promote the understanding of beauty of the human body. The scope of my research extends throughout the collection of women's magazines stored in the National Library and the Korea Magazine Information Center. The gathered research materials are: 5 kinds of Shin-Yeo-Sung (신여성), 51 kinds Yeo-Sung(여성) and 30 kinds of Ga-Jung-Ji-Woo(가정지우). The result of the research could be summarized as the followings. Before the 1920's in response to the violent opening, there was a trend of sticking to the traditional standard. In the 1920's, the prevalent images of women were meek and fragile. Japanese standard of beauty was explicitly indicated. In the 1930s, as Western movies started to be shown to the general public, western features were idealized and furthermore intelligence was required as a further condition. In the 1940s, preparation of the war led to encouragement of images of motherhood and natural beauty, and resistant to this trend led to pseudoclassicism.

• Women's Studies Review
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• v.28 no.1
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• pp.79-120
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• 2011

The purpose of this paper is to illuminate the implication of feminist oral history from a postcolonial feminist perspective as critically reexamining the relationship between hearer and speaker, representer and narrator, the said and the unsaid, and secrecy and silence. Based upon oral (life) history of a U.S. military prostitute (yanggongju), I tried to show the experiences of a historically-excluded and marginalized 'Other,' and then critically reevaluate the meaning of encountering 'Other', not just through the research process but also in the post/colonial society in Korea. The narrative of an old woman in the "kijichon" (a formal prostitute in U.S. military base) shows how woman has navigated the boundaries between inevitability/coincidence, the enforced/the voluntary, prostitution/intimacy, and military prostitute/military bride while continually negotiating as well as having conflict with various myths and ideologies of the 'normative woman,' 'nationhood,' and 'normal family.' In addition, her narrative which causes the rupture of our own stereotypical images of a military prostitute not only proves the possibility of reconstructing the self-identity of a subaltern woman, but also redirects the research focus from the research object to the research subject (ourselves). Consequently, the implication in feminist oral history is that feminist researchers who whish to represent the experiences of other should first inquire 'what/how we can hear,' 'why we want to know others,' and 'who we are,' while simultaneously asking if subaltern woman can speak.

• Journal of Digital Convergence
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• v.17 no.10
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• pp.439-446
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• 2019

Feminism on the theme of gender equality is emerging as an important issue in the overall Korean culture. Feminism is not only a level of claiming or advocating women's rights, but an essential subject of gaze and thought, not a distorted, artificially portrayed image of women distorted or typified in a story created by men in the past It is a film that explores the problem of the individual's life in society fundamentally. Jun Koeun's movie' 'micro-habitat'(2018) 'expresses a feminist theme that shows a strong self - selection and transcendental thinking in male - oriented stereotypes and inequal social structure. The film, which focuses on the public insight into society and the enhancement of the ideal human being from the viewpoint that the public film should lead the educated enlightenment character that raises the broad insight into the world and lead the mature social culture, I think it will play a big role.