• Korean Journal of Fisheries and Aquatic Sciences
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• v.49 no.6
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• pp.875-882
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• 2016

The numbers of books, news articles, and documentary films on whales and dolphins have increased dramatically in Korea. The translation of 37 species with established Korean names, as reviewed and reported by Sohn et al. (2012), Kim et al. (2010), and Kim et al. (2013) in those books and public media, was not a problem. However, 52 cetacean species, which do not have proper Korean names, have been translated into Korean, causing confusion in the public. This short note suggests Korean translations for common names that have no Korean names based on the origins of the English common names, recent scientific information, and books on cetaceans.

• Asia Marketing Journal
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• v.22 no.4
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• pp.47-62
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• 2021

Good storytelling is at the heart of BTS as both a brand and a band. Modern brands know that story is no longer an option, but a requirement for keeping audiences engaged. With their consistent and creative reliance on story, BTS has transformed the K-Pop landscape, providing a framework for others in the industry that relies on open-structure narratives, sincerity, and active audience engagement, among other components. To investigate BTS's storytelling strategies, this article breaks down how stories permeate BTS's content, from music and videos to the Bangtan Universe and documentary films. The importance of transmedia storytelling and participatory audiences is also examined. The analysis resulted in a proposed framework that suggests the following components: 1) story as central to the brand; 2) authenticity and sincerity; 3) idol participation in creative output; 4) use of transmedia storytelling and story gaps; 5) intertextuality and cohesion; 6) opportunities for audience engagement; and 7) dedicated creative staff. Utilizing this framework can help K-Pop groups elevate their brands, better use storytelling elements, and gain larger, more engaged audiences.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.209-221
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• 2019

A found-footage film La France est notre patrie is a documentary, in which archive images are juxtaposed with intertitles, non-diegetic music and foley, by borrowing an audiovisual strategy of silent films. The filmmaker Rithy Panh has excavated the images, which had been taken during the same period as the film history of the end of the 19^th and early 20^th centuries in Southeast Asia and Africa under French colonial rule. This paper examines the filmmaker's methods of historiography when utilizing archive images in order to represent the past by referring to Walter Benjamin's concept of historical montage and dialectical image. As the analysis illustrates the singularity of constructive methods, which include multi-layer viewpoints and montage styles of compilation and collage, it reveals how La France est notre patrie elicits the essay film modes through its self-reflexivity, leads audience to the threshold of critical thinking about time and history and creates a discourse of counter-memory.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.393-425
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• 2019

This paper focuses on Alain Resnais's representative works (1955), (1959), and (1963), and analyzes how he implements a representation of memory though cinematic apparatus. These three films deal with horrific memories that seem impossible to reproduce aesthetically such as the Holocaust, the Hiroshima Atomic Bomb, World War II, and the war in Algeria. The reappearance of events that stripped humans of even their minimum dignity can naturally be associated with ethical issues. These events can never be reproduced because they cannot be explained in the human language. It is also impossible to reproduce in a way that doesn't invade other peoples' sufferings, nor displays the pain of others as spectacles. Alain Resnais was a director who realized that if factual representation was not possible from the beginning, truthfulness would have to be approached through cinematic form. Therefore, he tries to overcome these problems through cinematic forms. First, he shifts to action films to avoid the obscenity of documentary. shows the records of camps captured by German forces in the past, while shows the pain of others in a fictional form of representation. Next, he describes how the trauma affects the identity of the main character through a flashback in , but also shows a main character who is experiencing trauma without a flashback in Flashbacks have the effect of showing the effects of trauma on the main character, but at the same time they involve the obscenity of enjoying the suffering of others. Nonetheless, the absence of flashbacks highlights the impossibility of representation. This is because it is not silent in the impossibility of representation but is constantly approaching. The attitude that repeatedly circles around impossibility is an ethical form that maximizes the impossibility of representation. In conclusion, this is the ethics of representation that Alain Resnais showed in his films.