• Journal of the Korea Society of Computer and Information
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• v.27 no.8
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• pp.91-101
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• 2022

This study started with the awareness that the review of the historical origins of Korean broadcasting will be of great significance in exploring the future of Korean broadcasting, and examined the various "origins" of Korean broadcasting - colonial, Cold War, totalitarian, neoliberal. Based on the theoretical background of "media archaeology", the historical 'origin' of Korean broadcasting was applied to track the origin of Hallyu(the Korean Wave) in the 21st century by comprehensively examining the political and economic motives of the time, the state's situational awareness of problems, major broadcasting policies and broadcasting realities. As a result of the study, it came to the tentative conclusion that the historical origin of the Hallyu, which began to be formed in the 1980s, originated from the three origins of Korean broadcasting and the "synthetic mixture" in the subsequent development process.

• The Journal of the Korea Contents Association
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• v.15 no.10
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• pp.46-55
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• 2015

This study is to re-read Yun, Baek-nam(1888-1954)'s editorial "Theatre and Society" from the perspective of postcolonial criticism. He was a man of the theatre who pursued practical interests in compliance with the colonial reality under the rule of the Japanese imperialism. His advocacy of theatre development work was based on the Japan-directional reformism and on Japan-friendly in following after Japan's improvement policy. His general discussion on Western theatre history had considerable errors as a result of focus on the social role and utility of the theatre. But his vindication of theatre-actor opened an era of interaction between theatre and intelligence in Korea. In addition, his enlightening view of a theatre became such as one of the cornerstones for the Shinkug Movement during Japanese colonial period in Korea.

• Journal of Korean Theatre Studies Association
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• no.49
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• pp.209-238
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• 2013

In recent years, a Zainichi playwright Jeong Ui Sin has been very active in the Korean theatre scene. However, the production of Yakiniku Dragon-first performed in Korea in 2008-which received numerous awards both in Japan and Korea gave him the recognition of Koreans' that was long overdue. In this paper, I will look closely into his two plays-Ineo Jeonseol (1990) and Yakiniku Dragon (2008)-which was written twenty-eight years apart from each other and reveal both similarities and differences between them in terms of the formation of post-colonial Zainichi identities. And to do so, I will utilize various opinions from post-colonial theories, performance studies theories, ethnic studies theories and theories on Zainichi Koreans. In the first, introductory chapter, I will delineate the theories on which this paper is based and some common factors of Jeong Ui Sin's 1990s plays as a point of departure. Then, I will move into the second chapter in which the two plays and actual productions of them will be closely examined to reveal different types of Zainichi identities and their social and cultural place within Japan by using Millie Creighton's concept of uchi others. In the third chapter, the identities of double negative (not not) and nomadic identities that are relevant to three types of Zainichi identity formation will be discussed. The fourth chapter will debate about various scholars' speculations about the future of Zainichi Koreans' identities and, finally, illuminate the changes/shifts that Jeong Ui Sin shows in terms of his stance as a Zainichi subject. In conclusion, even though it is very hard to speculate exactly what will happen to the Zainichi identity and their existence in Japan, the differences between the two plays-especially the endings-can be interpreted as revealing the changes in Jeong Ui Sin's Zainichi identity and it certainly sheds positive light on the future of the Zainichi identity and existence.

• CONCEPT AND COMMUNICATION
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• no.24
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• pp.165-191
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• 2019

Since July 2019, South Korea and Japan have been engaged in a cultural and economic conflict which originated in the differing stances of the two governments on the issues of sexual slavery and forced mobilization of Korean laborers before and during World War II. This ongoing dispute is a reminder that the fact of colonialism and the question of how it should be interpreted have not gone away: these are still present tense issues. The book's subtitle The Origin of the Korean Elite, What Did They Do When They Came back to Korea? makes clear that the elite class which held power and influence in the newly born Republic of Korea were actually educated in Japan, at the Japanese Imperial University. This book examines evidence which sheds light on the motives of Korean students attending the Imperial University, describing their academic studies and their lives after the liberation. By revealing this enduring substratum of "Japanese origins" at the heart of the South Korean establishment, a current which is not generally realized by Koreans today, the book allows us to re-examine our origins and thus to better understand our present-day identity and situation. It also addresses the question of how to confront these difficult questions, proposing a "historicization of what happened during the colonial period," which is not about hiding or minimizing the importance of our origins, but about facing up to reality as it actually happened.