• The Journal of the Korea Contents Association
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• v.13 no.3
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• pp.54-64
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• 2013

This study is on Hollywood's latest romantic comedy movie , attempted to identify whether nationality or gender difference of the movie audience is affecting on their acceptance to the genre characteristics of Hollywood's romantic comedy. Most of Hollywood's romantic comedy movies are centered on attraction of female and male actors and its' formulated plot (boy-meets-girl, boy-loses-girl, boy-gets-girl structure). Although the movie is following the formulated romantic comedy plot, it shows a variation from the typical romantic comedy genre. In this thesis, based on audience research data, statistics and interrelationship analysis on audience value orientation, we elucidate how Korean and American, Female and Male movie audience have different preference to actors and characters in the movie and representation of archetypal Hollywood romantic comedy happy ending such as propose and wedding scenes.

• Journal of English Language & Literature
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• v.56 no.6
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• pp.1211-1234
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• 2010

Mule Bone (1931), Zora Neale Hurston's collaboration with Langston Hughes, has been credited as the 'first' attempted by African Americans to create black folk comedy. The proposed research is driven from a question to the recent scholarship's tacit consent on such historic importance imposed on the play. This paper suggests a possibility that De Turkey and De Law (1930), Hurston's edition of the collaboration work, could be the truly first attempt in the tradition of American black folk comedy. By illuminating a series of historical moments in which Hurston first expressed her dream for writing a real black folk comedy that would be a really new departure in the African American drama, then collaborated with Hughes on the dream play project, and eventually quit the collaborationship due to artistic dispute with Hughes, this paper explains why Hughes edition Mule Bone came to remain 'unfinished' and, more importantly, fall short of Hurston's original goal and expectation from the collaboration. On the other hand, this paper sheds light on the significance of often-ignored Hurston's edition De Turkey and De Law by demonstrating how this play, compared to Mule Bone, fulfills her original idea of black folk comedy in terms of contents and themes compared with Mule Bone. Adding to the knowledge about little known behind story related to the Mule Bone controversy and the subsequent birth of the two different editions of the Hurston-Hushes collaboration project, supplementing the dearth of the related research with a critical comparison of the two editions, and discussing the validity of Hurston's edition as the real sense of black folk comedy, this paper argues for the necessity of reconsidering the origin of the mentioned genre. This paper finally concludes that De Turkey and De Law, replacing Mule Bone, deserves a right to be truly the first American black folk comedy genre in the sense that it was completed and copyrighted three months earlier than Mule Bone and that, more importantly, it cherished the original aim and artistic vision of black folk comedy Hurston first planned and expected through the collaboration with Hughes.

• Journal of the Korea Society of Computer and Information
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• v.24 no.1
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• pp.49-55
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• 2019

The character dialogue created by AI is unnatural when compared with human-made dialogue, and it can not reveal the character's personality properly in spite of remarkable development of AI. The purpose of this paper is to classify characters through the linguistic style and to investigate the relation of the specific linguistic style with the personality. We analyzed the dialogues of 92 characters selected from total 60 movies categorized four movie genres, such as romantic comedy, action, comedy and horror/thriller, using Linguistic Inquiry and Word Count (LIWC), a text analysis software. As a result, we confirmed that there is a unique language style according to genre. Especially, we could find that the emotional tone than analytical thinking are two important features to classify. They were analyzed as very important features for classification as the precision and recall is over 78% for romantic comedy and action. However, the precision and recall were 66% and 50% for comedy and horror/thriller. Their impact on classification was less than romantic comedy and action genre. The characters of romantic comedy deal with the affection between men and women using a very high value of emotional tone than analytical thinking. The characters of action genre who need rational judgment to perform mission have much greater analytical thinking than emotional tone. Additionally, in the case of comedy and horror/thriller, we analyzed that they have many kinds of characters and that characters often change their personalities in the story.

• Journal of Korean Theatre Studies Association
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• no.49
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• pp.5-47
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• 2013

Among the styles of performing arts, perhaps the genre that has attracted the largest audience would be musical. Popularity of musical has brought diverse changes in our performing arts market, and, upon emerging another musical genre, called 'Korean Traditional Musical Comedy,' it has been well-received by the audiences. 'Korean Traditional Musical Comedy' is a word that are formed by merging two other terms such as 'Korean Traditional Music' and 'Musical (Comedy).' In the meantime, however, it has yet some problems in order to be defined as the genre that has concrete concepts. It is because the term such as Korean Traditional Musical Comedy was created being closely associated with a marketing purpose rather than a term that defines the characteristics of a genre of performing arts. Although this new musical genre has drawn attentions of many audiences by adding 'Musical Comedy' to 'Korean Traditional Music' that was not quite popular to the public, it still does not have any established forms so that there is a fine line between "Korean Traditional Musical Comedy" and another genre like traditional style folk opera ("Changgeuk"). Looking at the characteristics of the musical work called 'Korean Traditional Musical Comedy, in general, first of all, it is a performance where music and drama are played. Here, the distinctive characteristic of this musical is that 'Korean Traditional Music' is sung. And the kinds of Korean traditional musics being sung are mainly Pansori (dramatic story-singing) and folk-songs, and, in most cases, Korean traditional musical instruments are being used as accompanying music. In this paper, the researcher investigated the aspects of experiment centering around Korean Musical Group, Taroo. These days, various experiments has been repeated not only for the works of Taroo but other musical work presently called 'Korean Traditional Musical Comedy' also. Having encompassed overall performance factors including use of musical instruments, dance, acting, materials for drama as well as music in drama, the researcher has gone through experiments repeatedly. Meanwhile, however, the subject matters that make 'Korean Traditional Musical Comedy' mostly attractive to the audiences are music and songs or sounds. ["Sori" also called "Chang" (唱)] Particularly, under the current situation of our musicals, the role of "Sori" is extremely important. The factor that plays absolutely most important role in acceptance and transformation of "Sori" is the created Pansori. Since the created Pansori is composed with new rhythmic patterns and new narrative poems, it tells the present story. Also it draws good responses from the audiences owing to easy conveyance of dialogues. And, its new style brings diversification to organization of musical instruments, so then this leads to the arrangements of music for Korean traditional music instruments, as well as instrumental music ensemble, orchestra, and jazz band, etc. Likewise, upon appearing creative musics in 'Korean Traditional Musical Comedy,' professional music and vocal compositions have begun to emerge naturally. And, the song specialist and writer, of course, staffs including direction, lighting, and sounds, etc are required. That is, professional composition method are forced to be introduced to all areas. Other than this, there are many music pieces which are based on our unique songs and sounds ("Sori") and such traditional factors as use of lead singer for ceremony or chorus, and the method that puts weight on Pansori. Accordingly many things accomplished. However, it is required that 'Korean Traditional Musical Comedy' go through numerous discussions and more experiments. Above all, the most important things are the role of actor and actress, and their changes, and training of actor and actress further. Good news is there are good audience responses. 'Korean Traditional Musical Comedy' is an open genre. As musicals are divided into several domains according to the characteristics thereof, 'Korean Traditional Musical Comedy' will be able to show its distinctive features in various styles according to embodiment.

• Cross-Cultural Studies
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• v.37
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• pp.109-130
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• 2014

In 1920s, Russian society was unstable and tremendous. After the 1917 Revolution, Russian government had initiated "New Economic Policy" embedded in a partial market system in these times. Also, Russian culture had been exposed to a new trend of culture, for instance, Russian Modernism. In the field of Russian literature, satirical comedy became very popular. One of famous satirical comedy writers was V. Mayakovsky who was trying to express his ideal society which consisted of both tensions and harmonies between the old and the new periods. In this context, V. Mayakovsky was recognized as a poet with futurism who loved to write a comedy expressing social suburbanity and governmental bureaucracy. His two comedies, "Bug" and "Bath" were his famous comedies, dealing with Russian modernistic historics and theatricality in 1920s. In this article, authors try to look into their artistic characteristics of 1920s Russian literature involving a new trend of social change, for instance, Grotesque and Tragicomic features. In the same context, this article focused on its inner dilemma of satirical comedy which had been existed in 1920s Russian literature.

• Sim-seong Yeon-gu
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• v.37 no.2
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• pp.77-98
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• 2022

Symbolic meaning underneath good and evil motifs in the Divine Comedy was analyzed based on its historical, theological, and psychological perspectives. Contemplating psychological structure and collective psyche in divine comedy with the perspective of Dante's era, brief analyses of various mythological elements, such as mythical beasts, fallen angels, cursed space and time, and femininity, were attempted in this paper. The Divine Comedy lustrously responds to modern man's existential questions about divinity and the opposing dark side of the human psyche. It helps restore the significant connection between the religio and conscientiousness toward the imago Dei and shadow.

• The Journal of the Korea Contents Association
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• v.21 no.11
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• pp.243-256
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• 2021

is a film that lifted Director Joon Ho Bong and Korea to the world-class level. A number of researchers have released findings of studies on based on their own interests and perspectives. The current study discussed the historical facts of black comedy in film and how black comedy from play has been used for epic characteristics and formal measures, although it was not a specific rule, through the perspectives of contemporary writers, such as Beckett, Ionesco, Durrenmatt, and Brecht. Some tools used for comedies and tragedies shared the same concept with black comedy in film and black comedy was a unique characteristic of film. The study analyzed how black comedy was signified in for paradox and nonalignment of purpose/intent and consequences as epic characteristics and parody, grotesque, and coincidence as formal measures. It also discussed the meaning of Director Bong's black comedy in and how the audience accepted it. Both the contemporary writers and Director Bong has a compassionate perspective, but the his was different from the work of other contemporary writers. Therefore, the study discussed his creativity behind .

• Journal of the Korean Society of Costume
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• v.62 no.2
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• pp.40-54
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• 2012

The significance of this research lies in the analysis of that appears in the comedy . It also aims to propose conceptual and analytical costume designs that emphasize the formal aspects of play by reflecting on the comical elements simultaneously. , the subject of this study, was played on November 12, 2009 at the Small Theater (Dalohreum Theater) in the National Theater as a celebration of the 40th anniversary of Suwon Women's College. The costumes were designed by this researcher and were produced in collaboration with the Creative Performances Research Institute (Suwon Women's College). The comic elements were categorized into deconstruction, deviation and unexpectedness according to previous studies on the humorous nature of comedy, and their aesthetic meanings were applied to the costumes. The designs that reflect the comic elements are as follows. The costume design reflecting deconstruction is a way that disassembles and recombines constructive aspects of clothing. It consists of seam margins outside or just left disassembled without sewing, dismantling the boundary of outerwear and underwear. The costume design reflects deviation because reformed shapes of collars, the variation of length and closure of skirts deviate from the traditional style. These are designed by distorting traditional designs with deviation and transcend of tradition. The costume designs the reflect unexpectedness integrates both tradition and the contemporary, and use materials of diversity and heterogeneity, and these are composed of external formats the result from incongruity. Because comic elements are metaphysical concepts that carry meanings that are difficult to define according to the country and period, it is required to analyze, organize and utilize their characteristics and meanings of each period. Since this study analyzed the comical elements of a play and applied them to costume design, it is hoped that a follow-up study of analytical costume design is be done, and that more diverse and more creative costume designs are in the next generation.

• The Journal of the Korea Contents Association
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• v.14 no.3
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• pp.80-93
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• 2014

This paper examines how split-screen technique works to meet the goals and strategies of the narrative in the romantic comedy films which deal with love and sex. The plot of romantic comedy films aims to the union and marriage of the couple, but is structured to delay the union as much as possible through comical situations and episodes. Usually split-screen scenes are placed before plot point 2 and serve to make a laugh and humor. Besides, it helps focusing on two main characters. Comedy related to love and sex comes from information gap between two main characters which can cause a tension, double meaning of spoken words and combination of split-screen images. Michael Gordon's Pillow Talk(1959) and Peyton Reed's Down with Love(2003) are reviewed in this study.

• American Studies
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• v.44 no.2
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• pp.67-96
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• 2021

The Canadian public broadcaster CBC had successfully aired a sitcom centered on a Korean immigrant family from 2016 to 2021. The show is based on the play Kim's Convenience written by a Korean-Canadian playwright Ins Choi. This study explores literary features of Kim's Convenience that accounts for its popularity; three elements of the show play crucial roles in maintaining the balance between specificity and universality. First, Choi deploys a Korean immigrant story in the form of comedy. Second, the main plot revolves around an ordinary family with generational strains that ends in reconciliation. Third. the Kims are depicted more as an archetypical family than a stereotypically Asian one. By closely interweaving these elements, Choi induces the audience to find commonalities from the show, and racial specificities of the Kim's family become "spicy" attractions of the play.