• The Journal of the Korea Contents Association
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• v.9 no.11
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• pp.175-183
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• 2009

This study is the full-scale research of a TV drama writer, who has been out of scholarly pursuits, examining the differentiality and tendency of the most popular TV drama writer, Su-Hyeon Kim. By focusing on her recent melodrama , this study shows that the writer used her own category grammar, 'pursuit of psychology' and 'reversal of dichotomy', which led her to convey the drama's message of the 'self-reflection' on love successfully. This analysis would be the good result of overcoming all the raised melodrama's negative elements in Koran TV such as conventionality, dichotomy, unreality, and excessive emotion. Also this paper presents that the writer showed an advanced tendency on the gender ideology, overthrowing the existing patriarchal gender ideology. This study proposes the further research to analyze what sort of influence is the writer's own category grammar. Also this study proposes the following research on that the writer's advanced tendency in melodrama could applicate the other genre drama of her's, stressing the necessity of sustaining research work on TV drama writer.

• The Journal of the Korea Contents Association
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• v.14 no.2
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• pp.48-59
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• 2014

This study examines the characteristics in melodramas by comparing three major television broadcasting companies(MBC, SBS, and KBS) since 2000. The findings of the study are as follows: "Romance" melodrama is more common in MBC and SBS, than in KBS, where "family" melodrama is more common. The most cause of conflict shown in MBC is "love between the rich and the poor" that in SBS is "conflict between love and success", and that in KBS is the conflict similar to that between "Ondal the fool and Princess Pyeong-gang". The most common love relationship shown in SBS and KBS is the "single love triangle" and that in MBC is "double love triangle". In the shows of all three TV broadcasting companies, male protagonists most frequently belongs to "jaebeol" (the rich) and female protagonists are "company workers". The most common personality trait of male protagonists' in MBC shows is and "optimism", in SBS shows, it is "supercilious behavior", in KBS, it is "simple-hearted". However, the personality of female protagonists in the shows of all three broadcasting companies can be described as, bright and cheerful. In MBC and SBS, male protagonists were frequently portrayed as capable, and in KBS, as self-conceited. in KBS are the most frequent. Female protagonists in the shows of all three broadcasting companies were most frequently portrayed as hardworking.

• Proceedings of the Korea Contents Association Conference
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• 2009.05a
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• pp.263-267
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• 2009

With the increase of weight and influence of TV drama, Many researchers began to publish papers on TV drama. However, Those papers were mainly about social meaning of TV drama and viewing motives and attitudes of TV audience. However, only a few limited papers were about television image production techniques. The purpose of this thesis is to analyse the relationship between TV genre and image production technique with the data of top 100 of TNS Media Korea from the year 2004 to 2008. This paper found out that history drama uses more closeup, longshot, tracking and less waist shot than other genres, with shorter shot duration and longer scene duration.

• The Journal of the Korea Contents Association
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• v.9 no.10
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• pp.159-167
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• 2009

With the increase of weight and influence of TV drama, many researchers began to publish papers on TV drama. However, those papers were mainly focused on social meaning and viewing motives and attitudes of TV audience. However, only a few papers researched about television image production techniques, such as 'Relationship between TV ratings and image production techniques', 'Transition process of TV drama's image production techniques', and 'Comparison of TV and film image production techniques'. According to the recent research on the relationship between TV ratings and image production techniques, TV rating is inverse proportionate to multiple camerawork and shot average duration with a very close relationship. The purpose of this thesis is to analyse the relationship between TV genre and image production technique with the data of top 100 of TNS Media Korea from the year 2004 to 2008. This paper found out that history drama uses more closeup, longshot, tracking and less waist shot than other genres, with shorter shot duration and longer scene duration.

• The Journal of the Korea Contents Association
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• v.12 no.9
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• pp.126-135
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• 2012

This study is the subsequent full-scale research of a TV drama writer who has been out of scholarly pursuits as it explores Su-Hyeon Kim's underlying consciousness with focusing on her heroines, the and . The author Su-Hyeon Kim clearly distinguishes a TV melodrama from a TV home-drama by her own self-control, which is a rare case in TV drama genres, therefore, her consciousness lights up at her melodrama. This study applies Lacanian theory to the author's melodramas for examining the author's under-lying thought. For Lacan the subject is an 'alienated', 'privative', 'fractured' 'being' as an imperfect language, the symbolic order, forms the subject through its signification. The subject desires the other's desire, and wants to become an object for the other's desire. The desire constantly demands an integral world, a perfect love, the wholly harmonious imaginary order. And it lasts up as it refuses the symbolic order's imperfection while it works its unconscious fantasy. Lacan states that only the 'traversing the fantasy', 'separation' would give birth to the real, liberated subject. Despite a 20-years of rift within two works, the and have an identical conflict core, that is a subject's constitutive, fundamental privation and desire of a human being. Su-Hyeon Kim's underlying consciousness complies with her continued theses of an inquiry into the subject's real liberation and freedom when desire of the rings produces the subject's alienation, privation, and the pursuit of a impossible perfect love.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.429-462
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• 2019

This paper argues how the concept of melodrama can be articulated with the Affect Theory and Posthumanism in relation to animal or environment representation which have emerged as the new topics of the recent era. The argument will be made through the discussion of Agustin Zarzosa's book, Refiguring Melodrama in Film and Television: Captitve Affects, Elastic Sufferings, Vicarious Objects. Using a genealogical approach, the book revisits the notion of mode, affect, suffering (hysteria), and excess which have been dealt with in the existing studies of melodrama. In chapter one, he broadens the concept of melodrama as a mode into the means of redistribution of suffering across the whole society in the mechanism of the duo of evil and virtue. It is the opposition of Brooks's argument in which melodrama functions as the means of proving the distinction between evil and virtue. Chapter two focuses on the fact that melodrama is an elastic system of specification rather than a system of signification, with the perspective of Deleuzian metaphysics. Through the analysis of Home from the Hill (Vincente Minnelli, 1959), this chapter pays attention to an 'affect' generated by the encounters between the bodies and the Mise-en-Scène as a flow not of a meaning but of an affect. Chapter three argues that melodrama should reveal an unloved (woman's) suffering, opposing the discussion on the role of melodrama as the recovery of moral order. Safe (Todd Haynes, 1995), dealing with female suffering caused by the industrial and social environment, elaborates on the arguments on melodrama in relation to female hysteria with ecocritical standpoints. The rest of the two chapters discusses the role of melodrama for the limitation and extension of the notion of the human through 'animal' and 'posthuman' melodrama. It argues that the concept of melodrama as 'excess' and 'sacrifice' blurs the boundary between human and inhuman. In summary, although the author Zarzosa partly agrees with Peter Brook's notion of mode, affect and sufferings,he elaborates the concept of melodrama, by articulating philosophical arguments such as Deleuzianism, feminism, and posthumanism (Akira Lippit and Carry Wolf) with the melodrama. Thefore, Zarzosa challenges the concepts of melodrama led by Brooks, which had been canonical in the field.

• 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.

• 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.

• The Journal of the Korea Contents Association
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• v.17 no.8
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• pp.351-365
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• 2017

Illness has long been an important plot device in Korean dramas. In earlier years, the device typically was supposed to be in the form of a terminal bodily disease occurring for the female main character toward the end of the story. On the other hand, the latest trend is to situate a mental illness for the male lead character at the earlier part, and use it as a tool to build characters, construct causal relations and set the intense tone for the overall story. The mental illness as a plot device helps to provide a series of reversals, revelations and turnarounds, giving viewers a stronger sense of intensity, empathy and identification. While the illness used to play the role of a deus ex machina to make a big emotional finish, the latest adoption of the mental illness as a main plot device has enhanced the flexibility of the plot and the effect of versimilitude in dramas. These noticeable changes make one suspect that the focus of Korea's drama contents might have already begun to grow out of the conventional soap operas into different genres.

• The Journal of the Korea Contents Association
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• v.13 no.10
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• pp.103-112
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• 2013

This study is the subsequent full-scale research to explore an undisputed top Korean TV drama writer, Su-Hyeon Kim, more profoundly, who has been out of scholarly pursuits. As it begins with discussing her mixed tendency by genre, we discuss about a useful reading method of the writer's relatively conservative genre, a home-drama. For the purpose of the study, it sets up the intertextuality theory. This study assents to that criticism of diminishing in its original meaning of M. Bakhtin's dialogism, which led J. Kristeva to name and fix the term. Therefore this paper mainly applies the Bakhtin's intertextuality theory to analyze common elements of the writer's and . Also it applies the G. Gennette's intertextuality of 'imprints' and 'transformation' between hypotext and hypertext to figure out their correlation. The analysis shows that the writer's home-drama realizes its mutual relationship and intersubjectivity of the Bakhtin's core intertextuality concept, which results in gaining viewers' popularity. And it also explains that the writer uses 'repetition' and 'transformation' method of intertextuality to contain its intended message in her own home-dramas. As the result of the study, to the writer, Su-Hyeon Kim, while a melodrama genre is for her fundamental inquiry of a 'privative', 'fractured' human being, a home-drama genre is for her message of the only solution of a 'family' to that inquiry with her own intention.