• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2012.05a
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• pp.419-421
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• 2012

The current situation and problems of sensory console games was analyzed focusing on the Nintendo 'Wii.' In order to develop the limitation of contents that lean strongly towards sports and fail to offer diversity one step further into glocal cultural contents, a solution of applying 'Bollywood,' which has a main musical format, is presented. Bollywood is a unique cultural code of India which can stimulate the purchase desires of consumers with its exotic freshness in third countries, and can be used to lead sales of a new form of game culture that is familiar yet in a new format in the 1.1 billion people Indian market. The political, social and economic codes of Bollywood are examined in this study in addition to cultural contents and codes that include Bollywood to develop contents that are not foreign to their culture.

• 지역과문화
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• v.7 no.1
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• pp.27-57
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• 2020

This study focuses on the culture-based revitalization strategy in creative rural areas. To this end, we first summarized the concept of creative village, which has been discussed in Japan and the West. Also, based on the relationship between them, we proposed a revitalization model of creative villages through the culture and arts. In this process, the concept and relationships were examined in detail through the example of Miryang Theater Village in Miryang. In addition, this study analyzed the problems of Miryang Theater Village and applied it to the concept of creative village and suggested an alternative. Through this process, we reconsidered the meaning and possibility of cultural arts in the creative village. And, it was confirmed that the cultural arts could be realized through the balance and organic linkage between the elements of creative villages in order to localize them in combination with the regional specificity of rural areas.

• Cross-Cultural Studies
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• v.21
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• pp.189-211
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• 2010

The purpose of this paper is to 1)examine the current state of cultural studies in Korea with a focus on recent discourses about its 'crisis' and 2)attempt to find some ways out of these dilemmas in drama/theatre/performance studies. As Raymond Williams redefined 'culture' as 'a whole way of life,' performance studies has expanded the boundary of 'performance' from traditional performing arts onto almost everything that can be studied and analyzed 'as' performance. Performance is not only the final product on display but a whole process that includes training, workshop, and rehearsal of culture. According to Richard Schechner, workshop and rehearsal are the most critical and creative 'liminal' phases that allow traditional knowledge and alternative challenges to coexist in conflict and intentionally delay the final decision by putting itself in a perpetual process. From this view, this essay attempts to find an-no matter how limited and temporary-answer to or a possible exit from political and theoretical aporias of cultural studies.

• Korean Journal of Heritage: History & Science
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• v.39
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• pp.131-163
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• 2006

Interest in Korean cultural properties has rising in recent years, not only on the part of existing researcher and scholars but also among the general public. The scope of interest has expand also, no longer being confined to Korea, and has given rise to movements for redemption of cultural properties preserved overseas and plans on how to make use of information about them. Aside from the basic idea that all cultural properties overseas are subjects for redemption, this paper argues that it is time to seek ways to actively make use of information on those cultural properties, and that this must be preceded by dear understanding of the current status through systematic on-site research and investigation of the channels through which they left the country. In addition, it is necessary to look at the issue with a broader perspective. The cultural properties in question must be regarded not as the sole property of Korea, the country that produced them, but as artworks of the world with outstanding universal value, to be protected and utilized by all human beings. From this point of view, this paper organize studies the kinds of Korean cultural properties kept at three major museums in the United Stated, including the Museum of Fine Arts, Roston, and traces the routes and methods by which they were taken out of Korea. Based on the perception of Korean artworks overseas as explained above, the purpose of this paper is to examine materials those cultural properties not only for academic research, but also todistinguish between those properties that should be redeemed and those that should be publicized overseas by clarifying how they were taken overseas, and thus provide basic materials for policy purposes.

• The Journal of Art Theory & Practice
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• no.5
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• pp.197-215
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• 2007

Yangbanxi("model plays") symbolize the Cultural Revolution(1966~1976) in China. The Eight Model Revolutionary Works include five Chinese Modern Peking Operas, namely, Taking Tiger Mountain by Strategy(智取威虎山), Harbor(海港), Shaijabang(沙家浜), The Red Lantern(紅燈記), and Raid on the White Tiger Regiment ; (奇襲白虎團), ballets such as The Red Detachment of Women(紅色娘子軍) and The White-Haired Girl(白毛女) ; and a symphony: Shajiabang(沙家浜). On April 24, 1967, Chinese leaders, including Mao Zedong, saw a performance of The White-Haired Girl. Yanbanxi was performed in Beijing between May 24 and June 15 the same year. The Red Lantern was designated as a work for the proletarian classes by Jiang Qing(Mao Zedong's third wife and the most influential woman in China) and spread nationwide. It was also made into a film to be enjoyed by many people. The modern Chinese operas went a long way in their creation of visual images of revolutionary heroes. The Red Lantern, in particular, came to be regarded as the most representative revolutionary opera. In the course of such a process, Jiang Qing used Yangbanxi as a political tool for compelling the people to worship and pledge their allegiance to Mao in an effort to turn the Cultural Revolution into a class struggle on behalf of her husband. During the Cultural Revolution period, artists were made to associate with workers, farmers and soldiers based on the idea of advocating revolutionary arts for the proletarian classes. The characters in The Rend Lantern were portrayed as heroes from the proletarian classes according to the demands of the era. Chinese leaders set forth the principles of artistic expression, stressing three important factors: politics, heroes, and heroic acts, which were to be applied to all the visual arts, including Yangbanxi. This paper attempts to present a new view of fine arts during the Cultural Revolution in China by focusing on the productive significance of a leading style of a specific era in the past. To that end, this paper sheds light on products made in conformance with political instructions, stressing the importance of revolutionary heroes in The Red Lantern.

• Korean Institute of Interior Design Journal
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• v.24 no.6
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• pp.192-201
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• 2015

This research aims to find planning issues on reuse of an industrial heritage as a cultural cluster and to suggest planning factors which can be referred when designing the similar cases. Analysis standards were formed through reviewing of precedent literatures, and the selected cases(i.e Shanghai M50, Yokohama BankART1929, and Incheon ArtPlatform) were analyzed to identify both physical and nonphysical planning characteristics. By combining analyses, the following results were obtained; (1) The demand and supply of the arts coexist in one place, and the studios and galleries are designed with high ceilings; (2) The regional and historical characteristics are revealed from preserving major architectural elements of previous buildings, and open spaces are provided to promote a variety of activities for local residents; (3) Various strategies to overcome disadvantage in location are developed, and the concepts of design can be easily recognized by buildings' exterior as the reused industrial heritage and the cultural cluster; (4) Diverse supports for artists make it possible to gather many competent artists, and the cooperative networks among artists play a pivotal role in the development of cultural cluster; (5) The cluster runs educational programs reflecting the needs of local residents, and builds a strong relationship with the local community by supporting regional art industry or developing linked programs; (6) The cluster serves various functions such as cafes, pubs, restaurants, art shops, and bookstores, and hosts appealing events and festivals to attract many people even who are not interested in arts.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.15 no.8
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• pp.4874-4880
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• 2014

This study examined the effects of cultural facilities and city parts on the regional suicide rates in Korea. Data of theaters, exhibition facilities, libraries and city parts was collected in 143 local areas governments. The number of theaters and the size of city parts had a significant effect on decreasing the regional suicide rates in the areas, and the number of exhibition facilities had partial impacts. This result suggests that the dynamic components of a culture and arts environments may work more effectively to relieve depression and stress and decrease the suicide rates. This study suggests that the cultural welfare environments can be found to solve the problem of the high suicide rates in Korea.

• The Journal of Art Theory & Practice
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• no.5
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• pp.25-41
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• 2007

Despite continuous efforts to redraw the boundaries between art and culture, the conventional concept of originality has persisted in approaches to the practice of contemporary art. In the discourse of originality, various forms of lesser arts that employ the method of replication have been referred to as kitsch, or "rear-guard," the opposite of avant-garde. This categorization points to the contested issue regarding the oppositional relation between modernism and mass culture. With its easily accessible content and financial affordability, mass culture has become both an irresistible attraction and a most powerful threat to modernism. This threat has instigated a discursive system that has situated mass culture as a cultural other of modernism. Taking the marginalized category of kitsch as the area of contention, this paper examines a discursive repression of kitsch. It analyzes the conceptual framework that defends originality and autonomy in art and, conversely, degrades kitsch as an inferior and dangerous cultural category. Greenberg'S concept of kitsch as a by-product of industrialization evolved into the criticism that advocates the autonomy of art. The Frankfurt School scholars, particularly Theodor Adorno and Max Horkheimer, practiced comparable cultural critiques. Focusing on mass culture such as film, radio, and television, instead of art works, they critically analyzed the system of mass culture and theorized the negative implications of the ubiquitous presence of kitsch. Some critics, on the other hand, perceived the growth of mass culture as opening possibilities in cultural development. Walter Benjamin and Harold Rosenberg asserted the socio-cultural dynamics of mass culture underlining the potential for continual transformation in reality and in the subject. They acknowledged that technological advances changed the condition of creation and enabled unmediated interactions between media. By scrutinizing conflicting views on kitsch, this paper intends to reassess arts that draw "the forces of the outside."

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.35-48
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• 2020

This study aims to find out the implications of the Chinese cultural industry by analyzing the successful factors of the IP acrobatic stage drama "Mongjiryeo," which was well received through internal and external performances by creating acrobatics repres enting traditional Chinese culture as a stage play that conforms to the trend of modern society. Th e findings are as follows. First, China's cultural industry grew and developed quantitatively and qualitatively based on the government's active promotion policy and the huge domestic market. Second, through challenges and changes to traditional culture such as acrobatics and costumes, creative standard presentation and practical experience were attempted as modern stage plays. Third, Oriental humanities ideas and emotions were introduced amid the reform and innovative changes of traditional culture. The results of this study will enable various free interpretation and expansion from a humanities perspective. And it could be used as a reference material for the study of the creation of new culture utilizing the analysis and approach of the traditional Chinese cultural archetype.

• Journal of Korea Entertainment Industry Association
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• v.13 no.7
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• pp.229-235
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• 2019

Currently, Korean society has seen a rapid increase in international marriages since the mid-1990s, and the number of their children entering school age has been increasing every year in recent years. With the growing number of students with parents from various social and cultural backgrounds in our society, the difficulties they face are emerging as a new social problem that we should pay attention to and solve. Although the difficulties they are experiencing vary depending on their parents' nationality, social, economic status, and attitude toward raising their children, it is generally reported that they are suffering from language barriers in elementary school, study barriers in high school, and friendship barriers in middle school. In particular, the school started this research based on the problem that when students from multi cultural families did not mix well with ordinary students and could not narrow the distance between them, they could become adults and enter society in the future, causing social conflict.