• Journal of Popular Narrative
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• v.25 no.4
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• pp.135-158
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• 2019

The purpose of this paper is to elucidate the characteristics that make Guillermo del Toro's film Pan's Labyrinth (2006) a fantasy film, and the meaning and function of the labyrinth motifs closely related to it. Tzvetan Todorov defined the 'fantastic' as the hesitation between natural and supernatural interpretations in the face of supernatural events that invade reality. In Pan's Labyrinth, the fantastic continues to be seen, because the film does not allow the hesitation to disappear; thus, the fantastic does not enter the 'uncanny' genre or 'marvelous' genre, and because it keeps its fantastic state. In this case, the labyrinth symbolizes art as a passage into the fantastic world and a space that represents it. Rosemary Jackson saw the fantasy as a "literature of desire to compensate for a lack resulting from cultural constraints" and thus repeatedly dealing with unconscious materials. Del Toro's film shows the character of the fantastic as an expression of desire by allowing 'family romance' to take place in the fantastic world. In this case, the labyrinth symbolizes the mind as a place of desire. Kathryn Hume defined fantasy as a reaction to reality, like mimesis, and 'departure from consensus reality.' The film, operating in a 'vision' genre, satisfies its definition by allowing the fantastic world to illuminate the reality world through 'contrastive' technique, and brings out the fantastic it has. In this case, the labyrinth symbolizes the world as a mirror of the world of reality. Thus, Pan's Labyrinth is representative of fantastic film in that the fantastic functions very effectively, and the labyrinth appearing in this film can be evaluated as a motif that is full of meaning by symbolizing all three elements of art, world and mind. The significance of this paper is to shed light on how a motif works in a particular genre through the above considerations.

• 한국정보디스플레이학회:학술대회논문집
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• 2005.07a
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• pp.620-622
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• 2005

DuPont Teijin Films (DTF) have developed a family of films engineered specifically for the flexible electronics market. $Teonex^{(R)}Q65A$ is a biaxially oriented crystalline polyester with an engineered surface and it is emerging as a competitive material for the base substrate in OLED displays and active matrix backplanes. This contribution will describe the properties of this film, its uniquely different property set compared to amorphous high performance films and discuss examples of the film in use in flexible electronic applications.

• The Journal of the Korea Contents Association
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• v.12 no.7
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• pp.65-75
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• 2012

Throughout the agraian society, industrial society, information society, and the knowledge-based society, the word father has become the representation of the law, oder, control, protection, and discipline. This study, with traditional fairy tale "Le petit chaperon rouge", aim to analyze the child readers a notion familly around 'me' and conceiving the father as the unit of the institution; also, in the Korean film , cinema audiences feeling keenly the necessity of the conventional family values and looking for the poster of principal agent of law and order. Generally the father is protector of 'me' and simutaneously, is incorporal being; even if he is inessential, he has, only by the name, great influence with people(law, order, control, discipline, are operating only with the name as the father God does). Our study will show how the signifier father operates and what similarity is between the film and the traditional fairy tale. A father is recognized as a tyrant or criminal, but a man is always realized to undertake a duty of resisting unjust powers and protecting nonperson. Those opposing structures was well represented in epic works such as"Le petit chaperon rouge" and . The father described in children's tale appeared as a symbol of desire and oppression, therefore youngster readers realized around 'Me' the concept of family through the absence of a father and received the father as a unit in the system. A father in a film has been described as a protector of nonperson, and a main part in the institution and order of traditional family. In both genre, the psychological signifiant of father still has been shown based on the symbol of father as a social institution.

• Cross-Cultural Studies
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• v.26
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• pp.273-296
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• 2012

The purpose of this paper is to examine the characteristics of American film (genre drama) through the analysis of , which merits our attention because the proportion of domestic gross earnings to foreign gross earnings is four to one. It means that the cultural discount rate of this film is relatively higher than the films which belong to the other genres, for example adventure, action, fantasy, SF etc. And it would be correct to say that this film is typically american. What is the reason of this difference of cultural discount rate? And what allows this film to be defined as a typical American film. The analysis of shows that the difference doesn't result from the actant structure. In fact the narrative structure of this film is similar to the other films of drama genre like or : the common structure of drama genre is characterized by an encounter of sujet and adjuvant and the progress of their relationship. But the drama is a genre in which the reflection of the actualities is important as compared with other genres. In that sense the story of is based upon the American cultural characteristics. Because the process that realize the progress of relationship between two protagonists is typically American such as race problem, adoption system, concept of family, system of education and going to college etc. As a result it is possible that move less the worldwide spectators than the American spectators.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.429-465
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• 2019

This paper analyzed the ways in which "others" were reproduced in Korean movies in the 1970s. In the midst of the social changes of the era, such as urbanization due to rapid industrial modernization, many people became laborers for industry in order to obtain the fruits of modernization.But the landscape of others, which was inevitably produced in the process of constructing such subjects, has been limited to analysis that is focused on gender and youth discourse. This article aims to extract the landscape of others in the 1970s by adopting a different perspective. The way in which the other is present can be divided into the following two categories. First, in 1970s film, the family community, in contrast with 1960s film, has disintegrated and cracked, due to the inability of others to enter or leave the community. The desperate perception that the family community can no longer function as a stable foundation or center of the constitution, and that it cannot have a sense of security and belonging,is revealed through the way the others are wandering in and out of the community. Second, 'Death' is an element of social life in the violence of the national ideology of the 1970s, and the everyday exceptional state. The way in which the 'other' is completely eliminated from the normal subjectivity requested by the state and is deported in film reflectshow everyday death or potential death is part of life of the 1970s. Normal life pursued through rapid urbanization and industrialization leads to the death of the other beings, but the way of existence of others is the desperate reality of the 1970s, when the boundaries of the state that provide stability and belonging are broken. As a result, the landscape of others in the 1970s reveals a violent reality that destroys the perfect middle class family discourse that industrial modernization was oriented around in the 1970s, and that produced masses of others who caused numerous deaths. In spite of regime censorship, Korean films were popularly revealing the violence of life brought in by the 1970s, following a detour of representation.

• Journal of Ethics
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• no.84
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• pp.243-274
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• 2012

The purpose of this study is to study the community narrative ethics of China·Taiwan film. in the context of globalization and locality. I especially wish to look this part through narrative·hermenutical approach and communitarian ethics against contemporary liberalism and individualism. In particular, this article focuses on the works of Hou Hsiao-Hsien, Zhang Yimou, Lee Ang, Tsai Ming-Liang, Chang Tso-chi and Chen Kaige. China and Taiwan's main directors show family and country's community narratives through the self understanding and identification that we call narrative conception of the self. The idea of local community and identity is related with inheritances, history and tradition from the past of my family, my city, my tribe, my nation. Main directors make and have the story of those communities which I derive my identity. And community narratives from the life histories that define us form local community's solidarity should have the openness to other communities. Community narratives shouldn't be separated from the aspect of globalization and locality. After all, I examined whether the local community narratives reveals meaningfully from the standpoint of globalization and locality through China·Taiwan film.

• The Journal of the Korea Contents Association
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• v.20 no.10
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• pp.57-75
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• 2020

This study identifies the symbolism of cross symptoms of different classes during the modernization process based on the imagery of and , both of which are Korean films made in the same era of the 1960s. The study referred to a number of Korean family movie films in the 1960s, in particular and , which are notably different in ways of expression and in social class of the subject matter, and identifies how the films express the mixed aspects of the cross modernization period. The film uses a grotesque expressionist method to voyeuristically look into a newly emerging middle class family, and the deconstructive aspect of a family unit whose excessive desire leads to its own ruin; thus, the film presents a new perspective into the various social issues that emerge in the near future. In contrast, engages realistic depictions to describe in detail the deep conflict of pain and hope within the hardships of life from the urban poor through a deep family conflict. Ultimately, the two films expose the various social issues through the familiar and the unfamiliar that appear from the mixed aspects of the cross modernization period, in other words, the conflicting images of the traditional and the modern.

• Design Convergence Study
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• v.14 no.4
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• pp.193-208
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• 2015

This study is to search a meaning of treagedy to show by the 6th generation through charecter's tragedy in the 6'th Generation Chinese film. For this, it examined an inner characteristic behind of the tragedy's moment and externalized ending in directors' films of the 6'th Generation's representation. The 6'th Generation of Chinese film reorganized newly Chinese film's cultural topography in the 1990s. The 6'th Generation films, which rebelled against the primary melody and the 5'th Generation on the system, is expressed commonly a tragedy moment with the time and space by character's tragedy. Characters of the 6'th Generation in the tragedy moment attempts various efforts to escape from the tragedy moment. However, no one can overcome the wall of reality, and their concealed emotion as keeping it out of the public eye lead that play. The moment that the 6th generation film meets a tragedy, the main character's accumulated tragedy situations begin to unfold all together. A tragedy embodied through : a collapsed tragedy due to the past's wound, a tragedy due to loss of jobs, a tragedy due to a family's departure, a tragedy from a time of chaos, a tragedy of a woman who became a head of a household and other tragedies.

• Journal of the Korean Academy of Child and Adolescent Psychiatry
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• v.33 no.2
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• pp.55-56
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• 2022

The Guarantee of Rights and Support for Persons with Developmental Disabilities Act was enacted and revised in 2014. However, national measures for persons with developmental disabilities remain insufficient. In the film, "Grown Up," director Hyeyoung Jang filmed the daily life of her sister, who has developmental disabilities. She raised not only the issue of institutionalization in people with developmental disabilities in Korea but also the issue of a lack of policies that would be essential to them and their family members. In the future, I hope that as experts, child and adolescent psychiatrists in Korea will pay more attention to the lives of people with developmental disabilities outside the clinic and propose policies to help them and their family members.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.15 no.8
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• pp.4844-4852
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• 2014

Many festivals are based on overseas municipalities 'city image marketing' planning. This trend is gradually reflected in this country as with the Kimcheon International Family Theatre Festival in the Republic of Korea. Gimcheon promotes itself as the central city of happiness 'city image marketing'. Most of these dimensions are in the middle of planning a festival when the Manjiman Kimcheon International Family Theatre Festival Theatre Festival, and the differentiation of the other audiences that drive successful practices in terms of box office need to be determined. This paper presents the history and status of the Kimcheon International Family Theatre Festival Theatre Festival and others based on the reports point out the distinction of a 100% share of the audience for the fifth consecutive year to analyze the cause. In particular, with local art and local performing arts festivals, audiences through a combination of 'show' Theatre Festival are also indirectly involved in the 'touch and feel' willingness to participate. In the Kimcheon International Family Theatre Festival there are significant challenges for improvements in significance.