• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.251-265
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• 2020

The Drone shot is moving images captured by a remotely controlled unmanned aerial vehicle, takes usually bird's eye view. The hand-held shot is moving images recorded by literal handheld shooting which is specialized to on-the-spot filming. It takes a walker's viewpoint through vivid realism of its self-reflexive camera movements. The purpose of this study is to analyze comparatively aesthetic functions of the drone shot and the hand-held shot. For this, the study understood Certeau's concepts of 'place' and 'space,' chose World Travel 'Peninsula de Yucatan' episode as a research object, and analytically applied two concepts to the scenes clearly presenting two shots' aesthetic characteristics. As a result, the drone shot took the authoritative viewpoint providing the general information and atmosphere as it overlooked the city with silent movements removing the self-reflexivity. This aesthetic function was reinforced the narration and subtitles mediating prior-knowledge about proper rules and orders of the place. The drone shot tended to project the location as a place. Conversely, the hand-held shot practically experienced the space with free walking which is free from rules and orders inherent in the city. The aesthetics of hand-held images represented the tactic resisting against the strategy of a subject of will and power in that the hand-held shot practiced anthropological walking by means of noticing everyday lives of the small town and countryside than main tourist attraction. In opposition to the drone shot, the hand-held shot tended to reflect the location as a space.

• Journal of the Korean association of regional geographers
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• v.23 no.1
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• pp.23-46
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• 2017

This article examines the sexualization of place under conditions of the compressed modernization and reflexive cosmopolitanism. In particular, I adopt Michel de Certeau's spatial didactic model of strategy and tactic to investigate the dynamics at play in the gay labelling of a Coffee Bean & Tea Leaf (Coffee Bean) in South Korea, and explore the 'gaying' that takes place within preconceived heteronormative space. Using interview data, I additionally explore the negotiation tactics and coping mechanisms at work when gays compete with heterosexuals for non-gay place. The results illustrate how gays gay in heteronormative space and how heteronormative space harmoniously embodies gay men. The findings suggest that spatial location and tactic play important roles in stimulating compromise of sexual territory. Gay Bean benefits from being nestled between locations with histories of tolerance, while it also prospers from reflexive cosmopolitan ideals of diversity and acceptance of others. Gay identity and gaying is interpreted as foreign in Korea, which buttresses gay performativity in spaces welcoming of foreigners and so-called "deviance." However, how gaying functions within place relies not only on spatial histories of tolerance outside, but also on the tactics of identity negotiation within. The findings suggest that spatial and tactical conditions induce gay individuals to police other gay-identified individuals when gays gay in so-called heteronormative places.

• Korean Institute of Interior Design Journal
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• v.20 no.6
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• pp.124-134
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• 2011

The space has been interpreted from various perspectives, such as hierarchical, cultural, economic, political factors, etc. So we can see the space as a social existence. Space is now being formed through the dialectical relations of these elements. From this point of view, this study started to research the spatial practice of morden people through the case in the early 20th century film. With the discourse of Henri Lefebvre and David Harvey, and Michel de Certeau's theory, this research tried to find the mechanisms of spatial practice. Also Benjamin is a philosopher who intervenes the relationship between modernity and cultural production and his way of reading cultural phenomena seems to serve as the useful methodology of cultural studies. Modern people were individual unawared of the era, awakened to the ego. They were wandering the room and the street, private and public places. They were city dwellers walking around, collecting goods, and living of everyday life. Spatial practice is a fixed activity and have continuity. spatial practice appeared in the early 20th century film is at the intersection of social practices and the practice of everyday life. Social practices are a fixed practice and continuous practice. The practices of everyday life are nomadic practice and amusable practice. Modern people accommodate and adapt to a given space of the city through fixed practice. They realizes the access and the distance from spaces through continuous practice. They select and approved the spaces through nomadic practice. And they possess exclusively and utilize the spaces through amusable practice. Through These research spatial practices, it could easily found similarities and differences between modern space on the early 20th century and contemporary space of 21st century. True modern is not the past but the present.

• Korean journal of communication and information
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• v.70
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• pp.35-65
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• 2015

This paper is consisted of the thesis that the decontextualized limitation of media cultural studeis in Korea should be overcome by walking into and linking with today's urban crisis and everyday life. It proposes us to become the flaneurs who do not hesitate to go to, think of, and experience actively the city in crisis under the capital/state domination. It's conclusion would be that we must practice participation observation at the fields and thus recover the critical element of cultural studies writing, by entering into the city and seeing at the features of crisis routinely expressed and symptomatically appear in there. For and before this, the author will first of all pay attention to John Fiske in later period, who was merely perceived and falsely regarded as an active audience theorist. He will also review de Certeau from whom Fiske has borrowed the concept of tactics, and Berman who has further practiced the very spatial tactic. The paper is prepared so as to expand the ideas and thoughts of them who have gone beyond the boundary of text, audience and onto the context of urban space. It's goal is much more than rescuing, recovering Fiske's alternative trajectory. It tries to reconstruct the tradition of urban media cultural studies critically connected with the dangerous, life-threatening capitalist condition. Furthermore, by filling up the theoretical vacuum left behind disconnected and cut away from Fiske, it attempts to find a vision, prospect of cultural studies that will actively engage themselves dialectally with dangerous yet hopeful life of the city and its popular masses.