• (The) Research of the performance art and culture
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• no.32
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• pp.333-370
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• 2016

This study examines self-reflexive scenes of Changgeuk [창극; Korean classical opera] Seopyenje [서편제]. This show deals with Pansori [판소리; a kind of Korean folk play] and its singers. The uniqueness of this show is that although it is a new creative work of Changgeuk, the traditional Pansori music is used intactly. These characteristics are related to some self-reflexive scenes in the show: the narcissistic reference of Pansori makes to seem that this show inherits a artistry of Pansori; a play within a play and a role-play reinforce a reality on the action and characters of outer play; an intertextuality, bringing the narrative and music of Pansori Simcheong-ga [심청가] in this show, it makes audiences spontaneously discover a connection between the cited original text and the hypertext. Namely, the self-reflexivity of Changgeuk Seopyenje doesn't destroy an illusion, but rather it presents a kind of conservative self-reflexivity which uncovers a part of tricks for the illusion in order to create new illusion.

• (The) Research of the performance art and culture
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• no.33
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• pp.303-328
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• 2016

This paper identifies the life of Kim Jung Hyun who was so called kisaeng, a beauty and entertainer in modern times and serves as the study considering what kinds of dances she played going through modern times and the significance works in Korea Dance illustrated guide bear in terms of dance history. Kim Jung Yun who was designated as an important intangible cultural asset for her Korean traditional narrative song in the northwestern provinces (Number twenty-nine. designated in 1971) devoted herself to Korean classical music area after having been designated as cultural asset and became a stranger in dance area. However, in Kisaeng call-office, she had been estimated to learn dancing under the great dancer, Lee Jang Sin, and make efforts on dance activity until the early 1960's. Her works derived from such learning and creation activity came to be part of Korea Dance Illustrated Guide. This study aimed at studying Kim Jung Yun in addition to her works who had not received attention so far but worked on positive lines and made a significant accomplishment in modern dance history in order to reveal her importance status in modern dance history.

• Journal of Korea Entertainment Industry Association
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• v.15 no.7
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• pp.59-70
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• 2021

This research studies the specific cases of Ryusuke Hamaguchi's re-arrangement of the original novel Net emo Samite mo(2010) by Tomoka Shibasaki to his 2018 film Asako I&II. The study focuses on the difference that has been made between the original novel and the film, which occurred after Ryusuke adapted the novel's "Telling" to the film's "Showing." The presence of the passive protagonist and the repetitions are the elements that have been avoided from the traditional Screenwriting theory for a long. Instead of avoiding it, Ryusuke Hamaguchi inherits these traits of the original novel when re-arranging to his film. Despite the presence of a passive protagonist, Hamaguchi's method of adaption increases the attention of the audience by using the other tools of Hollywood's tradition: the use of goal and want of the protagonist. In addition, Hamaguchi's storytelling strategy captivates both the modern cinema audiences and the classical film audiences by creating a story, which both repetitive structure and normative narrative structure were applied.

• SUVANNABHUMI
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• v.1 no.2
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• pp.1-20
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• 2009

This research tries to review the history and concepts of Thai temple mural painting. According to the research results, the history of Thai mural painting dates back to the late 14th century when Wat Chedi Chet Taeo in Si Satchanalai was built. The Sinhalese elements embedded in the Sukhothai murals are also found in the Ayuthayan stupa murals made in the early 15th century. The mid 18th century's Burmese invasion into Ayuthaya destroyed most of Buddhist temples in the Kingdom of Ayuthaya and as a result, Buddhist murals of the late Ayuthayan age are hardly found except for some temple murals located outside of the capital. The late Ayuthayan murals are much different from the early Ayuthayan murals in that they are narrative in depicting Jataka and the life of Lord Buddha. This classical mural painting culminated in the age of Rama III of Bangkok Dynasty. His successor Rama IV undertook westernized reforms which influenced the area of traditional mural painting. Consequently, new western style Buddhist mural paintings were produced while themes of mural painting were enlarged to the other subjects such as historical recording of royal and social events. This trend continued in the age of Rama V but the development of Thai Buddhist mural painting discontinued after the death of Rama V due to the rapid westernization and decrease of illiteracy. The existing Buddhist murals produced on or before the reign of Rama V are deteriorating and disappearing. The reasons for this are partly because of Thailand's humid climate. However, some social backgrounds such as the lack of concern for preserving old Buddhist murals can not be disregarded. Considering the substantial value of Thai Buddhist murals as a cultural resource in Thai society, it is very urgent to establish appropriate conservation policy for them.

• Trans-
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• v.3
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• pp.55-86
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• 2017

This study begins with the necessity of the concept of reincarnation of film media and the inclusion of specific tendencies of contemporary films as post - cinema comes. Variable movements around recent films Challenging and experimental films show aesthetics that are difficult to approach with the analysis of classical mise en scene and montage. In this way, I review the dispositif proposed by Martin in films that are puzzling to criticize with the classical conceptual framework. This is because the concept of dispositive is a conceptual pile that extends more than a mise en scene and a montage. Dispositif films tend to be non-reproducible and non-narrative, but not all non-narrativef tendencies are dispositif films. Only the dispositif film is included in the flow. Dispositif movement has increased dramatically in the modern environment on which digital technology is based, but it is not a tendency to be found in any particular age. The movement has been detected in classical films, and the dispositif tendency has continued to exist in avant-garde films in the 1920s and some modernist films. First, for clear conceptualization of cinematic dispositif, this study examines the sources of dispositif debates that are being introduced into film theory today. In this process, the theory of Jean Louis Baudry, Michel Foucault, Agamben, Flusser, and Deleuze will help. The concept of dispositif was discussed by several scholars, including Baudry and Foucault, and today the notion of dispositif is defined across all these definitions. However, these various discussions are distinctly different from the cinematic dispositif or dispositif films that Martin advocates. Martin's proposed concept reminds us of the fundamentals of cinematic aesthetics that have distinguished between the mise-en-scene and the montage. And it will be able to reconsider those concepts and make it possible to view a thing a new light or create new films. The basic implications of dispositif are apparatus as devices, disposition and arrangement, the combination of heterogeneity. Thus, if you define a dispositif film in a word, it is a new 'constraint' consisting of rearrangement and arrangement of the heterogeneous elements that make up the conditions of the classical film. In order for something to become a new design, changes must be made in the arrangement and arrangement of the elements, forces, and forces that make up it. Naturally, the elements encompass both internal and external factors. These dispositif films have a variety of possibilities, such as reflection on the archival possibilities and the role of supervision, the reestablishment of active and creative audience, the reason for the film medium, and the ideological reflection. films can also 'network' quickly and easily with other media faster than any medium and create a new 'devised' aesthetic style. And the dispositif film that makes use of this will be a key keyword in reading the films that present the new trend of modern film. Because dispositif are so comprehensive and have a broad implication, there are certainly areas that are difficult to sophisticate. However this will have a positive effect on the future activation of dispositif studies end for end. Dispositif is difficult to elaborate the concept clearly, so it can be accessed from a wide range of dimensions and has theoretically infinite extensibility. At the beginning and end of the 21st century film, the concept of cinematic dispositif will become a decisive factor to dismantle old film aesthetics.

• Journal of Korean Classical Literature and Education
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• no.39
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• pp.137-180
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• 2018

This article examines the constitutional characteristics of the works in the "Shinbi Apartment" (Mysterious Apartment) series produced by Tooniverse, a domestic animation channel, and considers the meaning of the contents of the ghoststory (鬼神談). The "Shinbi Apartment" series is a horror animation for children. It was produced for the first time in Korea and recorded high ratings. Additionally, it is different from Japanese horror animations that were dubbed and broadcast in Korea in terms of composition and narrative direction, and it succeeds in the form and direction of the traditional Korean ghost story. "Shinbi Apartment - The Secret of Ghost Ball" enriches narrative stories by embracing the structure of the "female ghost story" in traditional ghost stories while following the form of ghosts that suddenly pop up in the daily routines of contemporary ghost stories. The ghost's shape, which has a bizarre and unpredictable aspect, embodies the ghost as the object of fear that modern horror stories intend. However, it does not stop there, but puts the attention on the hero who focuses on the emerging ghost and listens and communicates with it, placing the emphasis of the story on communication, understanding, forgiveness, and reconciliation. The structure and contents of the unique story of "The Secret of Ghost Ball" contribute to the transformation of the ghost into a subject of friendliness and entertainment, not merely as one of shock, fear, and anxiety. Additionally, as the concept of "child" is being created, the custom of modernity, which deals with the story of ghosts in the dimension of teaching and edification, is also manifested in "The Secret of Ghost Ball." In other words, through the figure of the devil, it is to continue the lesson of the story by revealing the adventure, the courage necessary for the "child," and the boundaries for substance and appearance. The "Shinbi Apartment" series has also contributed to the success of ghosts as commercial contents. The structure of the story and its characters have been actively used as educational tools and toys for children. It can be said that ghost culture contributed to this popularization by establishing a base for enjoying ghosts for amusement and entertainment.

• Journal of the Daesoon Academy of Sciences
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• v.47
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• pp.173-202
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• 2023

In this study, we delve into the potential for innovative cultural education techniques that utilize the timeless tales of Princess Bari and The Tale of Shim Cheong as tailored for the upcoming generations of overseas Korean learners. With a rising number of young overseas Koreans born and raised in their host countries, there emerges a pressing need to craft an educational framework that resonates with the evolving dynamics of their generation. Our endeavor revolves around proposing educational strategies that help solidify identity while carefully considering the intrinsic motivation prevalent among most overseas Koreans. Naturally, the choice of employing the classic epics Princess Bari and The Tale of Shim Cheong as educational resources was deliberate. These narratives are rich in rites of passage and offer profound insights into the transformative journey of their protagonists. Both characters are affluent women in patriarchal societies, and both embark on quests to redefine themselves through new relationships, liberating themselves from the confines of parental ties. This narrative framework provides a unique opportunity for overseas Koreans who are often adrift in the social fabric of their adopted countries. These stories inspire them to introspect and contemplate their own identities. By intertwining their personal narratives with the empowering stories of characters, students are provided a chance to reaffirm their authentic selves. Therein, a paradigm shift can occur that allows individuals to embrace the core elements that define them. Our ultimate objective was to enable students to explore their own stories and immerse themselves in the intricate narratives of classical works. This immersive experience fosters a profound sense of unity with the characters and paves the way for a comprehensive educational plan. This plan not only celebrates the hybrid nature of identity but also cultivates a deep sense of positivity within amalgamated 'subjects.' Such an approach not only fosters a stronger connection with one's heritage but also sparks a genuine curiosity about and affinity for the rich cultural tapestry of one's home country. It's not just education; it's a transformative journey that enriches the lives of overseas Koreans and nurtures a profound bond with their cultural roots.

• Trans-
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• v.3
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• pp.29-53
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• 2017

The film scholar Vincent Amiel divides into three types of montage through his book The Aesthetics of Montage ; Montage narratif, Montage discursif, and Montage decorrespondances. These three categories are the concept that encompasses the aesthetic class to which most movies belong. Early films pursued the essential and basic functions of editing, which tend to be modified in the direction of enhancing the director's goals over time. In this way, "Expressive Montage" is one of most important concepts of montage, not as a 'methodology' that combines narrative but as a 'purpose'. In the montage stage, the expressive montage work is done through three steps of decision. The process of 'combining' to combine the selected films in a certain order, after the process of 'selection' which selects only necessary parts of the rush film, and 'connection' to determine the scene connection considering the duration of the shot. The connection is the final stage of the montage. There are exceptions, of course. When fiction films of classical narratives use close-ups, or when using models or objects of neutered animals, the film induces the tendency of a "montage decorrespondances" rather than a "montage narratif" or "montage discursif". This study attempts to analyze the tendency of montage of works with 'uncertain connection' through 'collage' used by close-ups and montage decorrespondances as 'fragmentation tendency of modern films'. The fragmentation of the montage in contemporary film breaks the continuous and structural nature of the film, and confuses the narration structure that is visible on the surface of the film. The tendency of the fragmentation of the montage, which started from this close-up, seems to give an answer to the extensibility of the modern image.

• Journal of Korea Entertainment Industry Association
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• v.15 no.5
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• pp.45-53
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• 2021

Digital morph expresses the imaginary beyond the representation of reality by expressing the narrative effect characteristically. In particular, the effect of affect can be considered to be a characteristic of digital cinema as a post-cinema. In (2013), Morphing image prominently shows the characteristics of post-cinema. By actively utilizing software technology, this film gives a shocking effect by expressing the magical image. Paying attention to the post-cinematic characteristics of morphing different from classical film, this article treated the characteristics of digital morphing. The digital morphing presents the flow of affect visualizing uncanny phenomenon of body transformation. This evokes concept of neuro-image which Patricia Pisters distinguished the neuropsychiatric pathology that appears actively on the contemporary digital screen. The Neuro-image goes beyond the temporality of Deleuze's time-image presenting future. Allegedly, the morphing of presents the neuro-images when Nina's body changed to hybrid body with black swan. Digital Morphing technique provides a shocking effect, showing delirium when the body bizarrely deformed while dancing ballet. This is different from the attraction of the morphing in film, it expresses the emotion of the neoliberal era beyond representation. In conclusion, the digital morphing presents the neuro-image system modulating the shock. This shows the characteristics of digital film which interacting and controling the shock effect as post-cinema.

• Sijohaknonchong
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• v.24
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• pp.223-258
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• 2006

This Research is about the classification of 'Sijochang', or the Korean ode narrative song, in terms of music. Contrary to the literature classification by the number of letters, sijochang varies with the melody. Literally, the classification is generally made as Dansijo(or short ode) Jungsijo(or medium ode) and Jangsijo(or lengthy ode) but the sijochang is normally divided into 'Pyongsijo' (or plain ode), 'Jirumsijo and Saseolsijo'. As while the same Sijochang is called under the different names, the different type of sijochang is also called as the same name, it needs the discussion about its name. Some Korean classical musicians have attempted to define it but they are trying to do it without the specific reasoning about its concept. As a result, the systematic research is required. This study designs to streamline the currently confusing and complex names and set up the sijo's classification system. After reviewing the ancient music note, current sijo score and the traditional theory, I largely classified it into 3 types: Pyongsijo, Jirumsijo and Saseolsijo. And then, 1 analyzed on to which type the sijochang which is presently called belongs, based on several principles. The 67 names of the sijo which I have investigated about are classified with them sharpy reduced into 16. Among the current sijo names. there are some which are of same type yet of different phonetics and there are others which are of different phonetics yet of same type. To avoid such complex and troublesome names, I have orchestrated them as follows, taking the literary and music concept into account. 1) Pyongsijo type : Pyongsijo, Joongherisijo, Wujosijo and Payeonkok 2) Jirumsijo type: Jirumsiro, Namchangjirumsijo(it refers to Jirumsijo sung by male ), Yeochangjirumsijo (it refers to Jirumsijo sung by female), Banjirumsijo(it refers to half the Jiumsiro), Onjirumsijo (it refers to the whole Jirumsijo), Wujojr\irumsijo, Saseoljirumsijo and Whimorisijo) 3) Saseolsijo type : Saseolsijo, Bansaseolsijo(it refers to half the Saseolsijo, Gaksijo or Pyongsiro There are still lots of things to musically streamline, in the fields of disposition of Sijo letters, its form, musical scale and influences on other genre. etc. and as such. the accumulation of theory on them is urgently required. Those musical elements need an in-depth review and study by the experts and the Korean traditional musicians. Later research is expected to play a role of exploring it.