• Journal of Korea Entertainment Industry Association
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• v.15 no.2
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• pp.169-178
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• 2021

The Korean girl group "Kara" has suffered the trilemma of its de facto failure to debut, the crisis of team breakup, and the CEO crisis of the agency. But the group has made an outstanding achievement in the history of Korean pop music after overcoming all odds. Their success strategy has never been disclosed by insiders involved in Kara's total music projects. This study has been carried out in the analysis of the strategy to provide academic implications and to honor the contribution of the late CEO Ho-yeon Lee and Kara's key member Ha-ra Gu. Therefore, between Nov. and Dec. 2020, we conducted in-depth interviews with managers, composers, stylists and Ha-ra Gu(Only in 2019, before her death) who took part in the project. The research model is set up by combining Porter's Competitive Advantage Strategy and the music value chain model into categories of "Product Innovation Differentiation (PD)" (producing, album production, performance activities) and "Marketing Differentiation (MD)" (market targeting, image specialization, promotion and communication). The analysis showed that the PD focused on complete rediscovered harmonization and revalued members' personality and sincerity with peppy songs and dainty dances as well as emission of "bright energy" which caused healing effects instead of mimicking other star singers recklessly. In terms of MD, they selected Japan's 10-20s as their main market, increasing intimacy with fans and media with the image of cute+pretty+classy+sexy. The result suggests that Poter's differentiation can function as a meaningful strategy frame in the fostering, hit, and revival of idol groups. In addition, it reaffirmed that spontaneous and passionate activities of early-stage or celebrity fan may serve as a valid catalyst for realizing differentiation, as Kara's caller of Japanese actor Gekidan Hitori caused a strong "priming effect" that drove Kara's unexpected wonderful success in Japan.

• Journal of Popular Narrative
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• v.26 no.4
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• pp.9-41
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• 2020

Park Jong-won's debut film "Guro Arirang," based on a short story of the same title by Lee Moon-yeol, is the first commercial film to deal with labor struggles from a worker's point of view in the wake of the 1987 democratic movement, and a pioneering work in terms of representing female workers the Korean cinema has traditionally turned away from. In this film Park Jong-won tried to win the sympathy of the middle class for labor movement in spite of the red scare which still stood firm in the Korean society at that time. To convey its progressive message in a form acceptable to the middle class public, the film portrays labor issues in the light of universal humanity and ethics, not in terms of class hostility or struggle. Park Jong-won calls this point of view "common sense of normal people" and emphasizes its universality and objectivity. This study critically examines the cinematic strategies to deal with labor issues in a form acceptable to the public in a conventional and commercial film and the ideological implications of the "common sense of normal people" reflected in such strategies. The first chapter of the study reveals that the film destroys the irony of the original story and reduces the complex constellation of the characters to the conflict between pure good and evil, creating a melodramatic composition in which the good falls victim to evil. The tragedies suffered by the workers in the film are of course intended to arouse the audience's strong sympathy and solidarity with them. The second chapter shows that the film's various scenes and episodes converge on the them of compassion and grief, and are mostly based on cultural and real experiences and events that caused great public sensations at that time. Especially in the last decisive scene of the movie, the memory of the June 1987 uprising is strongly recalled. So "Guro Arirang" can be seen as a patchwork of proven cases of compassion and grief. The third chapter examines the implications of the scene where the workers turn back demands for wages and put the issues of human treatment and trust to the forefront at the crucial moment of their struggle. It appeals to universal moral values and sentiments that everyone has to acknowledge and removes the political dimension from the workers' campaign. While the film tends to become a pure story of humanity marginalizing irreconcilable conflicts of class interest, the workers fall to the position of passive victims who can be deeply sympathetic on the one hand, and on the other, are idealized as leaders with noble attitude keeping themselves aloof from the hard reality. As a result, the movie loses its realistic ground and weakens its narrative probability. The scenes reminiscent of the 1987 uprising which evoke the solidarity between working and middle class fail to integrate harmoniously into the whole story of the film and remain only as fragmentary parts of the patchwork of compassion and grief.

• Journal of Popular Narrative
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• v.26 no.1
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• pp.175-209
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• 2020

This paper examines how the cinematic representation of the Japanese military "comfort women" stimulates 'imagination' in the realm of everyday life and in the memory of the masses, creating a common awareness and affect. The history of the Japanese military "comfort women" was hidden for a long time, and it was not until the 1990s that it entered the field of public recognition. Such a transition can be attributed to the external and internal chronopolitics that made possible the testimony of the victims and the discourse of the "comfort women" issue. It shows the peculiar status of the comfort women history as 'politics of time'. In the same vein, the cinematic representations of the Japanese military "comfort women" can be found in similar chronopolitics. The 'comfort women' films have shown the dual time frame of the continuity and discontinuity of the 'silence'. In Korean film history, the chronotope of the reproduction of "comfort women" can be divided into four phases: 1) the fictional representations of "comfort women" before the 1990s 2) documentaries in the late 1990s as the work of testimony and history writing, 3) melodramatic transformation in the feature films in the 2000s, and 4) the diffusion of media and categories. The purpose of this article is to focus on the first phase and the third phase in which the issue of 'comfort women' is represented in the category of popular fiction films. While the "comfort women" representations before 1990 were strictly adhering to the framework of commercial movies and pursued the sexual exploitation of "comfort women" history, the recent films since the 2000s are experimenting with various attempts in the style of popular imagination. Especially, the emergence of 'comfort women' feature films in the 2000s, such as Spirit's Homecoming, I Can Speak, and Herstory, raise various questions as to whether we are "properly" aware of issues and how to remember and present the "cultural memory" of comfort women. Also, focusing on the cinematic representation strategies of the 2000s "comfort women", this article discusses the popular politics of melodrama, the representation of victims and violence, and the feature of 'comfort women' as meta-memory. As a melodramatic imagination and meta-memory for the historical trauma, the "comfort women" drama shows the historical, political, and aesthetic gateways to which the "comfort women" problem must pass. As we have seen in recent fiction films, the issue of "comfort women" goes beyond transnational relations between Korea and Japan; it demands a postcolonial task to dismantle the old colonial structure and explores a transnational project in which women's movements and human rights movements are linked internationally.

• The Korean Journal of Archival Studies
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• no.73
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• pp.161-188
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• 2022

This article explores the current status of arrangement of the archives relating to the Korean Provisional Assembly held by the National Assembly Library and suggests the direction of rearrangement focusing on the principles of arrangement. The Korean Provisional Assembly had records management regulations, and records were produced and stored according to them. However, the archives lost their original order at some point. The National Assembly Library collected and managed them in the 1960s. The National Assembly Library did not fully consider the records management system at the time of record production and various situations that may occur during the storage process while organizing the collected archives. At that time, the National Assembly Library did not follow the records management regulations of the Korean Provisional Assembly. In addition, the hierarchical structure of archives was not applied during the arrangement, and the National Assembly Library arranged without considering the Principal of Provenance and the Principle of original order. As a result, it became difficult to understand the structure and context of the archives. In order to solve these problems and come up with a plan for rearranging the archives, first of all, it is necessary to examine the characteristics of the records related to the Korean Provisional Assembly in accordance with the principles of record arrangement. First, according to the Principal of Provenance, it is necessary to identify the organization, function, and records and classify the records item, records file, creators, dates of creation, types of records etc. Second, by applying the Principle of original order, it is necessary to understand what the order of records was at the time when records were created and preserved. Third, it is necessary to examine whether the records are completely created and valid. It is impossible to completely arrange the archives related to the Korean Provisional Assembly as it was in the past. However, by examining the current state of arrangement and the direction of rearrangement, it will be possible to newly understand the contents, structure, and context of the archives and create a basis for effective reference service.

• Korean Journal of Culture and Social Issue
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• v.21 no.3
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• pp.551-573
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• 2015

The rise of single living has been one of the most important demographic shifts of recent decades. The solo household is a little less than 40% in Europe areas and that of Tokyo is over 45%. Being impacted this figure, the formation of single economy is the key word in World Economic Forum(WEF) 2008. Seoul' single household is increasing rapidly. Between 2000 and 2005, the growth of single person is around 34%, the population of single person reached 700,000 people. Now 20% of total household in Seoul is Single household. Living alone or solo living is not exceptional or special in Seoul Metropolitan City. The rise in single living will create pressures towards poverty and inequality and so on. Seoul should develop and prepare the urban policy for single household. We figured out the four key trends which composed of single household in Seoul. Four types of single person are like below : Gold Mr and Miss, Reserved labor forces, depressed single and silver generation. Gold group is amonst people aged 30 and 40 who is working in the area of white collar and professional. They are usually elective single person household who have chosen solo living. Reserved labor forces group is usually among 20s people who have not get the regular hob. For this group, job acquiring is the most important issue. Depressed single person household group is among people aged late 30s and 40s. Its group is the result from the broken family. The silver group is among aged over 65 that is the main issue of the aged society. In this research, we stressed that people living alone can be split into two types - elective single person households who have chosen single living, and forced single person household who have been constrained to this lifestyle by circumstances. Except gold group, the rest of the group is the forced single household who are faced to poverty. The monthly income of single person household is almost under 2 million won. Single person household is usually working in the blue collar job and service area. So, except gold group that is the smallest part of single person household, almost single person is not the target of private market, but the object of public policy.

• 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.

• Journal of Popular Narrative
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• v.25 no.2
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• pp.73-116
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• 2019

In recent years, television dramas have adopted an emerging approach of imagining a just society via fantasy. This study set out to examine by stages the patterns of social justice in I Hear Your Voice, Pinocchio, and While You Were Sleeping written by Park Hye-ryeon, who has been leading this trend. I Hear Your Voice shows why social justice is needed, as it is set against the backdrop of a society in which legal justice has collapsed. In this drama, the collapse of the legal justice system indicates that democratic society is falling apart at the roots. As a result, pain and suffering is propagated among the petit bourgeois, with social justice being demanded as an alternative to this problematic reality. The supernatural power of reading the thoughts of others is used to remind viewers of the value of truth and trust and raises the possibility of the existence of a true heart as an alternative from a social justice perspective. Set in a society in which media justice is distorted, Pinocchio makes an attempt at changing ideas about social justice. In this drama, the corrupt media justice covers up truth and becomes a parasite to power, creating victims that are falsely accused. In this situation, the Pinocchio Syndrome, which makes people hiccup when telling a lie, shows paradoxically that truth can be distorted, and ultimately destroys absoluteness that is not truth. Finally, While You Were Sleeping inherits the world views of the two previous dramas and proposes a type of social justice called 'common good' as an alternative. A completely unfair society is created when legal justice collapses and media justice is distorted. In this situation, the ability to see the future is an ability to imagine a world of possibilities. Altruistic choices based on trust in others help us to realize a positive future. Social justice as common good to enable solidarity among subjects in a way that transcends the limitations of time and space is proposed as an alternative to overcome the problem of an unfair society. Given the recent reality of South Korean society, this common good and these ways of life might literally seem like a fantasy. When social justice is represented by efforts and reconstruction processes to overcome the current social issues and make a better future, common good based on the understanding and sympathy of others can be an alternative to improve a reality that is problematic at its root. Ultimately, Park's three works explore the feasibility of a just society that is yet to come from the aspect of the common good.

• Korean Journal of Heritage: History & Science
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• v.55 no.4
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• pp.56-70
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• 2022

Tombs No. 39 and No. 63 in Gyo-dong, Changnyeong, are unique in the Changnyeong area in that they do not have additional burials because they are hoenggu-style tombs with an entrance on the north side. This study tried to understand the nature and meaning of the two separate stone walls at the entrance of the tomb along with the burial process of the tomb. These two stone walls mark small tombs built independently within a large tomb, with stone wall No. 39 stone wall No. 3 (No.39-3) and No. 63 stone wall No. 3 (No. 63-3). Both units are located in the middle of the northern wall of the burial body part and share one wall with the burial body part wall stone. All animal fluids inside the stone wall were identified. In particular, it was estimated that at least three dogs were buried as a result of identification of animal fluids No. 63-3. Above all, these animals have their heads facing outward with their backs to the main occupants, and do not overlap in a limited space and are placed side by side. Changnyeong Gyo-dong No. 39-3 and 63-3 were created in the process of building the burial body, and although they are independent relics, they form a subordinate relationship in that they were built along the main burial within one tomb. In addition, it is coercive in that it is placed in an orderly manner according to a certain direction in a state that has not been dismantled after killing an animal. Therefore, It is understood to be the SHUNJANG of dogs. Studies on animal fluids excavated from tombs in the Three Kingdoms period are interpreted as animal stewardship, sacrificial collection, and animal sacrifice depending on their location, and this is known as a series of animal sacrifice rites, namely, animal stewardship and sacrifice. This recognition is based on material objectification of animals, such as food or sacrifices. However, Changnyeong Gyo-dong No. 39-3 and 63-3 are different in that they recognize animals as spiritual beings in the process of funeral rites and are closely related to the ideology that there is life after death. In addition, analysis of the location and directionality of the remains is also required from multiple angles. These two SHUNJANG correspond to the entrance to the tomb, and the location is the most open space at the entrance. The appearance of a dog looking outward, etc., can also be interpreted as the meaning of protecting the tombs and byeoksa. This appearance can be compared with the dog depicted in a mural in a Goguryeo tomb that reflects the ancient world's thought and stone figures excavated from the tomb of King Muryeong of Baekje, and it is also consistent with the meaning of the JINMYOSU protecting the ancient tombs. This suggests that a multifaceted study on animal fluid burial remains is needed in the future.

• Korean Journal of Heritage: History & Science
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• v.55 no.4
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• pp.118-135
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• 2022

The primary purpose of this study is to estimate the structure of Byeongpungsadaseok (屛風莎臺石) and Nanganseok (欄干石) in Geonwonneung (建元陵) and Heonneung (獻陵), which were built in the early of 15th century, based on the Annals of King Sejong. In addition, the ultimate purpose of this study is to reveal structural changes and their significance by comparing the differences with the contents of the dismantlement survey. Geonwonneung, Jereung(齊陵), and Heonneung were repaired at the same time in 1442, and the structural changes were the similar. The purpose of the repair in 1442 was to prevent water from flowing into the underground palace with smooth drainage. As a result of estimating the structure of Geonwonneung and Heonneung according to the records of the Annals of King Sejong, it was created in a very similar form to the Hyeonneung and Jeongneung of Goryeo. And it was clearly recognized that the Royal Tomb of Goryeo was followed. However, as the structure was improved in 1442, the unique characteristics of the Royal Tomb of the Joseon Dynasty were formed. First is the appearance of the Bokbuhyeong lime (覆釜形石灰, which is a convex roof on the Byeongpungsadaseok that serves to prevent rainwater from penetrating into the burial mound. It also plays a role in connecting and fixing the Manseok (滿石) and the Inseok (引石), which are the upper structures of the Sadaseok (莎臺石). Second, the Bakseok (薄石) between the nanganseok and the sadaseok has been transformed into the Sangseok (裳石) with a slope. This plays a role in protecting the inner stone chamber by expanding the length of the bakseok, which forms an overall slope, like the eaves of the roof. After both of these features were first attempted in 1442, they were applied to all Royal Tombs of the Joseon Dynasty and became unique features of these Royal Tombs.

• Journal of Korea Entertainment Industry Association
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• v.13 no.6
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• pp.247-256
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• 2019

The importance of the convergence education is getting more and more emphasized. But the university convergence education has not yet met today's needs. So this study is focused on showing effective practice methods and finding development directions of the university convergence criticism education. One of a significant trend of the contemporary academic education of liberal arts is the tendency of the convergent and integrative studies. What is essential in the convergent and integrative studies creativity. The zeitgeist of knowledge-based society is change and innovation. In response to its request, college education is being asked to do convergence education, And general education as the basis of convergence education is strengthened.