• The Korean Society of Law and Medicine
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• v.22 no.3
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• pp.125-144
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• 2021

The purpose of this study is to present a legal improvement plan for health protection of the health-vulnerable class in our society in the 'COVID-19'. The contents of the first study examined the meaning of the existing (social) vulnerable class, and then critically considered the health-vulnerable class as an expanded concept in connection with the social risk of health. The term "vulnerable class" tends to have both meaning as the traditionally marginalized class such as the elderly, the disabled, and women, as well as the condition of having no ability to live due to low income, such as the low-income class. The concept of the health-vulnerable class is meaningful in that it appears as a recently expanded concept as it is linked to the concept of the vulnerable class and social risks such as health threats. The content of the second study looked at the problems that appeared when the health-vulnerable class was used together with the health care-vulnerable class in laws. Due to the laws used in both terms, there was a problem that the social security system related to health and health care could create blind spots. The contents of the third study suggested legal improvement directions for social security measures for health for the underprivileged.

• Journal of Korea Entertainment Industry Association
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• v.14 no.4
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• pp.187-198
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• 2020

With the cultural background of whiteness I did examine the universal meaning of absolute good, the special of psychosis, and the fantastic of femininity and memory/record. As an example I analyzed the symbolic meaning of white used in Korean films. Unconditional goodness, white as a generality: White color in all the films of good-evil confrontation falls into this category. The most obvious and the simplest configuration are the black-white dichotomy. In Nameless Gangster: Rules of Time(2011), The Merciless(2016), Asura: The City of Madness(2016) and The Bad Guys: Reign of Chaos(2019), white is the absolute good but it is not limited to a fair key figure. Paradoxically, black is not given only to the side of absolute evil. White is used to be a flexible visual device that reflects the socio-political situation without changing the meaning of the general good. Psychosis and pills, white as a peculiarity: The visual function that emphasizes sado-masochism in the absolute good and the universal symbol of white extends to psychotic specificities such as hysteria. In all the films creating horror, white symbolizes the mentally disabled and the pill for healing. Femininity and haunted white: White of absolute good is expressed by the socio-cultural tendency of femininity and the black-white contrast of vision is applied to the gender difference. In general the women's sexuality is emphasized in color red, but white is arranged in the background. In TaeGukGi: Brotherhood Of War(2004), 71: Into The Fire(2010), My Way(2011), The Front Line(2011), Roaring Currents(2014), Northern Limit Line(2015), The Battle: Roar to Victory(2019) and Battle of Jangsari(2019), white given to female figures sticks to the traditional femininity such as motherhood, sacrifice and weakness. The concept of specters is applied to desires, memories/records, history, fantasy, virtual/reality and social media images. The film history capturing to list memories and moments brings up the specters of socio-political genealogy. Most of films aiming for socio-political change are its examples and white constituting Mise-en-scene records to remember a historical event in Peppermint Candy(2000), The Attorney(2013) and A Taxi Driver(2017).