• 비교문화연구
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• 제26권
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• pp.273-296
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• 2012

The purpose of this paper is to examine the characteristics of American film (genre drama) through the analysis of , which merits our attention because the proportion of domestic gross earnings to foreign gross earnings is four to one. It means that the cultural discount rate of this film is relatively higher than the films which belong to the other genres, for example adventure, action, fantasy, SF etc. And it would be correct to say that this film is typically american. What is the reason of this difference of cultural discount rate? And what allows this film to be defined as a typical American film. The analysis of shows that the difference doesn't result from the actant structure. In fact the narrative structure of this film is similar to the other films of drama genre like or : the common structure of drama genre is characterized by an encounter of sujet and adjuvant and the progress of their relationship. But the drama is a genre in which the reflection of the actualities is important as compared with other genres. In that sense the story of is based upon the American cultural characteristics. Because the process that realize the progress of relationship between two protagonists is typically American such as race problem, adoption system, concept of family, system of education and going to college etc. As a result it is possible that move less the worldwide spectators than the American spectators.

• 영미문화
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• 제10권2호
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• pp.29-48
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• 2010

This paper is a kind of interdisciplinary studies which connect a Western film criticism with a criticism of minority literature in America. My purpose in this paper is to put on the table such a sensitive issue as racial representation and representativeness in Clint Eastwood's revisionist Western, Unforgiven. We admit generally that Western films have contributed to the white American myth-making of how the West was won. Yet, since the mid-1960s, a growing number of revisionist Westerns were produced so as to raise a question about the conventional way of looking at what happened in the American West. In order to analyze the problem inherent in the way of seeing, I pay attention to how the director Eastwood (re)presents a character named W. W. Beauchamp in the film. Presumably, what the character Beauchamp misses in the West can be overlapped with what ordinary film viewers miss in the genre of Westerns. Given this, interrogating both what Beauchamp sees and what he misses within the movie, I attempt to disclose how much of the West has been unseen from his biased viewpoint. By doing so, I argue why it is important to focus on some passing scenes that touch on the irony of a Native American train passenger, the gaze of the mute Native American housewife, the abrupt disappearance of Asian American men, the lynching of African-American ex-cowboy, and the self-determination of the saloon prostitutes. Then I hope that, conservative and mainstream though the director is, his way of revising the Western is not quite far from my minority-conscious critical position.

• 한국콘텐츠학회논문지
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• 제21권1호
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• pp.210-226
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• 2021

이 글의 목적은 미국의 흑인 청년감독 라이언 쿠글러의 작품과 영화세계를 분석하는데 있다. 쿠글러 감독은 독립영화에서 출발하여 현재 할리우드에서 활동 중인 흑인 청년감독으로, 자신의 문화정체성을 바탕으로 흑인의 가치관과 내면의식을 영화로 재현하며 미국 '흑인영화'의 계보를 잇고 있는 청년감독이다. 이 글에서는 대표작 <오스카 그랜트의 어떤 하루>(2013), <크리드>(2015), <블랙 팬서>(2018)를 중심으로 그의 작품세계와 영화철학을 분석하고, 당대 미국 사회현실과의 사회맥락적 의미를 규명한다. 이 연구를 통해 쿠글러 감독은 흑인의 정체성과 흑인성(blackness)을 자기반영하는 '흑인영화'의 전통을 충실히 계승하고 있으며, 동시에 할리우드에서 내면화해 온 백인 남성가부장제 이데올로기를 전복하는 21세기 '새로운 할리우드 흑인영화 파워(New Hollywood Black Film Power)'를 상징하는 청년감독임을 확인할 수 있다.

• 한국정보통신학회논문지
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• 제18권4호
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• pp.1007-1012
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• 2014

본 연구자는 디지털 영상 연기 중 TV드라마와 영화 연기를 효율적으로 하기 위한 방법론 중 하나로 아메리칸 메소드(american method)를 제안하고자 한다. 아메리칸 메소드 훈련 방법 중 리 스트라스버그(Lee Strasberg, 1901-1982)의 정서적 기억은 디지털카메라 매체 연기를 하는데 있어서 제작 환경에서 오는 어려움들을 극복할 수 있는 효율적인 방법론이다. TV드라마와 영화의 제작 환경에서 발생하는 특성과 쇼트의 크기, 편집에서 오는 디지털카메라 매체의 독립적 의미 생성은 배우가 연기를 하는데 있어 간과할 수 없는 부분이다. 배우는 감정의 기억 훈련을 통해 디지털카메라의 매체적 특성에서 오는 어려움을 극복 할 수 있을 뿐만 아니라 자신의 연기를 도와줄 수 있다.

• International Journal of Contents
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• 제9권1호
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• pp.90-97
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• 2013

The L.A. riots, which happened during three days from April 29 to May 1, 1992, are viewed as the most deadly and destructive riots in American history. Depicted in blaring front-page headlines and violent pictures on television, this urban upheaval received epic exposure in many countries. In Korea, it was especially shocking due to the viewpoint that highlighted the conflict between Korean and African Americans. This paper aims to review the black-Korean conflict during the 1992 L.A. riots in a Korean movie, Western Avenue. It is a film that narrates the despair of Korean Americans in the context of the L.A. riots, while placing American ideologies on trial. It is the only feature-length film to portray the story of Korean Americans in the L.A. riots. This paper examines some of the factors that resulted from the 1992 L.A. riots before the discussion of Western Avenue. Then, the paper analyzes the story of the Korean American in the film, focusing on how this film deals with the black-Korean conflict during the 1992 L.A. riots.

• 영미문화
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• 제14권1호
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• pp.1-26
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• 2014

Multicultural theories fully fledged around the 1980s and the early 1990s. Emerging in the 1960s thanks to the Civil Rights movement, multiculturalism has become the grand American national narratives, whose tenets recognize and respect people with diverse racial and cultural backgrounds. This period, however, witnessed the eruption of violent and destructive rebellions or uprisings involving racial minorities. Racial conflicts and tensions exploded at the moment when multiculturalism was widely practiced in areas including education and public policy revealing that complicated problems are embedded in the urban ghettos. American popular culture, specifically addresses antagonisms among different races or ethnicities in Bed-Stuy in New York. Although the film is mainly concerned with the collision among races, it lets ambivalent and cacophonous values and ideologies be present in the black community. On the other hand, Ice Cube's "Black Korea" empowers the black community when it deals with the turbulent relationship between black residents and Korean American merchants. Simultaneously, it denigrates Korean Americans as gasta raps often target the institution like government or police. In short, while attempts to search the ideas of coexistence and juxtaposition through polyphonic features embodied in the film "Black Korea" seems to depend on the dualistic system when it deals with the black-Korean conflicts and as a result it just reveals the chasm between two communities.

• 통상정보연구
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• 제12권4호
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• pp.327-344
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• 2010

This study intends to analyze the trade competitiveness of Korean films in international markets. Under environmental of film industry, Korean films could be doing better. But the Key success factors Korean films in the foreign markets are the improvement of contents Quality and the diversification of trade market. Namely, Our films is mainly exporting Japanese market and the import depends upon American films. In case the trade specialization index(TSI), The international competitiveness of Korean films shows lower import specialization, by virtue of export increasing of Japan, Europe and other markets in 2000's. On the other hand, The Export Market Share has shown similar pattern to main markets except Japanese market, and the import was almost similar to trend in foreign markets except American films. Consequently the present film strategies and polices that delight limited markets will not be compete in global markets, Korean films or contents is merely called by that name.

• 건축사
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• 통권644호
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• pp.112-115
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• 2022

• 영미문화
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• 제9권1호
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• pp.297-321
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• 2009

The purpose of this study is to re-read the film of Dead Poets Society, specially focused on a feminist view. The film hides the strategy of recovering the traditional Patriarchal Society. At the beginning, the film resists the values of traditional society through John Keating. His unorthodox methods of teaching literature smack against the traditions of Welton Academy. Furthermore, he stresses on "Carpe Diem"—Seize the Day, the romantic values of free thinking, creativity, and individuality. The forces opposing Keating's philosophy are personified by Welton's rigid, old headmaster, Mr. Nolan, and the cruel, stubborn parent, Mr. Perry. Keating's romantic values are failed by their powerful, dominating attitudes. Effected by Keating's philosophy, Neil decides to pursue acting rather than medicine. He conflicts with his strict father. Finally frustrated by his authority, Neil commits suicide. And Keating is accused of inciting the boys to restart the Dead Poets Society, and at last he is fired. Keating and Neil are victimized by the Patriarchal society. Even though the film concentrates male characters at the all boys' school, it reveals the male angle of binary oppositions between men and women, subject and object, activity and passivity, presence and absence. In the film's dramatic conclusion, English class is now being temporarily taught by Nolan, who has the boys read from the very Pritchard essay they had ripped out at the start of the film. It symbolizes the triumph of the traditional logocentric society. However, influenced by Keating's unconventional attitudes, ultimately Welton Academy will be changed as it is embodied in its closing scene.

• 영어영문학
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• 제54권4호
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• pp.461-482
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• 2008

The science fiction was established as a typical genre of the American popular culture by the monumental releases of two series: Star Wars and Star Trek. Based on the popular science discourse, these two series have functioned as an ideological apparatus for re-appropriating Frontierism which reflects the essential values of American myth. Arguably, the SF genre owes its success mainly to the increasing popularity of science during the 1960s and 1970s, which was well represented in the space project of NASA. This power of popular science, however, tended to weaken in the 1990s as the public interest in NASA's project gradually decreased. "Deep Space Homer," an episode of The Simpson's fifth season, reflects the changing attitude of the American audience toward the new American hero created in the SF series of popular science in the previous popular culture.