• Title/Summary/Keyword: 1990′s

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The First Record of the Genus Tagosodes Asche and Wilson, 1990 (Hemiptera: Auchenorhyncha: Delphacidae) in South Korea (한국의 미기록속 Tagosodes Asche and Wilson, 1990 (노린재목: 매미아목: 멸구과)에 대한 보고)

  • Sanghyo Park;Wonhoon Lee
    • Korean journal of applied entomology
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    • v.62 no.2
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    • pp.57-60
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    • 2023

  • In this study, the genus Tagosodes Asche and Wilson, 1990 is reported for the first time in South Korea. Species distribution, measurement, host plants, description, and illustrations of diagnostic characters of Tagosodes pusanus Distant, 1912 are provided.

  • https://doi.org/10.5656/KSAE.2023.03.0.007 인용 PDF

Chronopolitics in the Cinematic Representations of "Comfort Women" (일본군 '위안부'의 영화적 기억과 크로노폴리틱스)

  • Park, Hyun-Seon
    • 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.

  • https://doi.org/10.18856/jpn.2020.26.1.006 인용

Korean Dong-in Culture and Yaoi: Focusing on the Changes in the 1990s (한국 동인문화와 야오이: 1990년대를 중심으로)

  • Kim, Hyojin
    • Cartoon and Animation Studies
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    • s.30
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    • pp.263-291
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    • 2013

  • In this article, I analyze Korean Dong-in culture and its relationship with Yaoi, focusing on the changes in the 1990s. While Korean Dong-in culture has developed under the influence of Japanese Dojin culture, it is not well-known that Korean Dong-in culture has its own characteristics, reflecting the unique situations surrounding the Korean society. The reason that I pay attention to the changes in the 1990s is that they have created the foundation of the current Korean dong-in culture through changes such as the import and reception of Yaoi, the creation of 'virtual community' in PC telecommunication, the enforcement of Juvenile Protection Law, and the inauguration of 'Comic World,' Among them, the import and reception of Yaoi, a genre characterized by homosexuality including sexual relationship and fanwork, played a decisive role in the change of dong-in culture from manwha circle by highly motivated amatuer artists to fandom. The circumstances that original manhwa dong-in by manwha circle and Yaoi by manhwa fandom coexisted by the mid-1990s, the enforcement of Juvenile Protection Law and the lift of ban on Japanese popular culture rapidly weakened original manhwa dong-in. Also, the popularity of Comic World as a new type of dong-in events reflected the spread of fanwork as a new trend of Korean dong-in. In summary, the import and reception of Yaoi should be considered as one of the important changes in the 1990s Korean Dong-in culture, because 1) Korean women considered Yaoi as a liberating subculture by its powerful contents-homosexuality with sexual relationship, and 2) Yaoi succeeded in attracting new population favoring fanwork as a major trend in Korean Dong-in, differentiated from original manhwa circle population.

  • https://doi.org/10.7230/KOSCAS.2013.30.263 인용 PDF KSCI