• The Journal of the Korea Contents Association
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• v.21 no.12
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• pp.748-756
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• 2021

In this study, as the first attempt to develop an experiential game tourism program using Korean classical literature, the primary research was conducted on Kim Soo-Jang and his anthology "Hae Dong Ga Yo". To this end, a theoretical review of the value of hands-on games and Korean classical literature as tourism content was conducted first. Afterwards, the consumers for the program were set up into three categories: family unit, MZ generation including lovers, and foreigners. A survey was conducted to confirm the program preference of each group. According to the analysis framework, the main value of each historical and cultural resource in "Hae Dong Ga Yo" and seven sijo pieces created by Kim Soo-Jang was discovered and, based on the survey, the preferences of the consumer related to the target were analyzed. Accordingly, the narrative structures were organized differently for each group. An adventure plot was designed for the family unit, a love plot for MZ generation and lovers, and a mixture of adventure and love for foreigners. Utilizing stories from Kim Soo-Jang and his works, which are rarely used despite their value, this study attempted to develop them into hands-on game tourism programs to create new outlets in terms of both Korean classical literature and the tourism area. In the future, if various Joseon literati are discovered and their storytelling is continued, we can expect the vitalization of the travel product line with the concept of classical literature travel.

• Journal of Digital Convergence
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• v.11 no.2
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• pp.385-390
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• 2013

The meaning of things appeared in the frame vary according to how they look in a shot. Especially, position of frame shows how a form becomes a content in quality. This has a large impact on communication with audiences, reminds them a special feeling or atmosphere toward an object and plays a suggestive role for things that shows up. Thus, this study aimed to investigate how symbolisms appeared in the frame position are shown in the relation among characters' narrative, personality and conflict and understand correlation between frame position and characters accordingly. As an object to be analyzed, this study selected which was played with narratives of couples with different personalities. The results of analysis shows that it is deeply associated with couples' narrative, which means that trauma or the severance of relations between a couple is shown on left side, whereas a positive and future-oriented couple was mainly shown on right side and the rate of being situated in the center turned out to be high according to the power relations of love. Based on the comparison between symbolism appeared according to the frame position and narratives and traumas that various characters have, this study found that frame position is playing an important role in composing characters' personality.

• The Journal of the Korea Contents Association
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• v.15 no.7
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• pp.157-169
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• 2015

This study focuses on Korea films of historical communication. Narrative analysis was conducted on the films in 2000s including , and <26 Years> that mainly have dealt with the 'Gwangju Democratization Movement'. As a result of the syntagmatic analysis, these films try to stabilize 'social imbalances' in the aspect of individuals and conceals issues of social structure. In addition, the result of paradigmatic analysis reveals that textual factors of 'active involvement of female characters', 'continuity of history through the survivors' demonstrate its strategies to publicize the historical truth. Consequently these films show its limitations that weakens historical meaning by placing unsolved problems of social structure as well as the love story. But rather than describing it as a history of the past, these films act as a catalyst to bring thins specific historical issue to our present lives and publicize it as a current issue. Therefore, the historical film not only allows current generation to remind to history but also to provide an opportunity to publicize the important issues of social structure in the present society.

• Journal of Popular Narrative
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• v.26 no.2
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• pp.157-190
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• 2020

How is the "Yonsei University Incident" of August 1996 remembered from a periphery perspective and a gender perspective? With this question in mind, I reviewed the history of the revolution and the missing memories in the period from 1996 to 2016 in Korean literature. I tried to recover the story of the revolution experienced and remembered by those who were politically invisible or gender-excluded, by centering on novels with strange reminiscences of the student movement in 1996, namely Yoon I-Hyung's "Big Wolf Blue" ("Big Wolf Blue", 2011), Choi Eun-Young's "Responsibility"(2018), Hwang Jung-Eun's Didi's Umbrella (2019) and Park Sang- Young's "A piece of Rockfish Sashimi The Taste of the Universe"(How to Love in Metropolis, 2019). There is a correlation between the perception of the periphery and the name of the "unrememberable" revolution. And this fact tells us that revolution does not mean the same thing to everyone, even when it "passes" through the midst of a revolution that shares the imagination of a better society and the desire to reorganize the system. In other words, it emphasizes that the logic of exclusion and hierarchy was still in operation even at the moment of revolution. It would be said that this review is not only a rethinking of the student movement, but also a reevaluation from the gender perspective of Korean society in the 1990s.

• Journal of Popular Narrative
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• v.25 no.3
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• pp.41-66
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• 2019

This paper looks at the readers and publishing strategies of paperback romance novels in the the 1980s based on the 'high-teen' concept. The purpose of this article is to examine the meaning the 'high-teen' concepts as expressed in the media through the publication of paperback romance series in the 1980s. Among paperback romance series, this paper was based on pirated/licensed version of novels published by Harlequin, a Canadian publisher, and the magazine media's advertising promotional phrases that were published targeting the same readers. Since the 1970s, mass media have referred to teenagers as high-teens and called them important consumers. High-teen was a term referring to teenagers in school uniforms, mostly girls, and in the 1980s, 'high-teen' was also introduced as a new consumer market, and the publishing market put forward a number of publishing strategies to attract them. The paperback romance, including , has identified 'high-teen' readers as late-teen girls, sensitive consumers for best-sellers/million-sellers, readers with a tendency to read stories of love, and readers that favor American and Western culture. Since the 1980s, the market for paperback romance has been in the recession, but readers have kept the romance genre alive by accepting and localizing the Harlequin series. With the rise of a new form of media called the 'Web Novel', interest in the romance genre is increasing, and we hope this study will serve as a starting point for a variety of discussions with (women) readers about romance reading/enjoyment.

• The Journal of the Korea Contents Association
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• v.15 no.8
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• pp.156-169
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• 2015

The negative awareness of a multiculturalism rises around the world because of various problems that happen with the multicultural phenomenon. Nevertheless, the reason we uphold multiculturalism is that multicultural phenomenon is an inevitable consequence of capitalism and the decline of multiculturalism might imply danger of bringing about radical nationalism. This study assumes that a distortion of multiculturalism is the result from a myth of romance film which affects the public perception as an integral component of a discourse. Grounded upon monomith, the narrative structure of romance film of which motive comes from courtly love makes people miscomprehend the value of multiculturalism because of the multicultural factor as substitute for romantic obstacle. As the character of romance movie is likely to be formed focusing on superficial images and denotations, this tendency causes the hierarchy and the representative minority drives out the rest of other minorities. The attempt to arouse people's tolerance and understanding of the other is frustrated both by the structure of binary oppositions and the clich$\acute{e}$.

• Journal of Digital Convergence
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• v.19 no.12
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• pp.443-450
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• 2021

This study focused on Ana Lilly Amirpour's movie 'The Bad Batch, 2016'. The core topic of the paper, 'Uncanny anthropology', was specially used in the sense of aiming for ideal anthropology, starting with the meaning of looking at Sigmund Freud's 'Uncanny' theory from 'human relationship (subject and other). The anthropology of F. W. Nietzsche, Martin Heidegger, and Emmanuel Levinas is the theoretical background of 'Uncanny anthropology', starting with Kirkegor for the discussion of a new theory of 'Uncanny anthropology'. However, this paper focused on Emmanuel Levinas' relational anthropology due to limited paper relations. The most important thing in this film is that it sublimated the malicious relationship with humans into love. He chose topics that were not routine, expressed themes and contents by disconnecting causality in the narrative, and Emmanuel Levinas' 'Uncanny anthropology' is evaluated as a film that expresses only.

• English & American cultural studies
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• v.18 no.1
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• pp.53-92
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• 2018

This essay aims to examine chick lit written within the Asian American context. For the most part, the chick lit genre has been typically regarded as a site to study contemporary white women's experiences and to debate the genres' credentials as feminist literature. Though some may disagree, there is general consensus that chick lit has fallen out of vogue after reaching its peak in the first decade of the new millenium.; nevertheless, it is being revisited by readers and critics alike as it has recently re-emerged as a location upon which to examine how race and gender inform notions of national belonging and female subject formation in the twenty-first century. To this end, this essay reads Kim Wong Keltner's The Dim Sum of All Things (2004). Keltner's protagonist Lindsey Owyang is yet another twentysomething "chick" looking for love, self, independence, and success in the huge megalopolis of San Francisco. What sets Lindsey apart from the chick prototype is that she is a third-generation ABC (American-born Chinese) and issues relevant to Asian America frequently make their way into Lindsey's narrative. Though it is generally considered as standing a "few notches above the standard chick-lit fare" (Stover n. pag), I would argue that meaningful reflections on many of the major pillars of Asian American literature, history, and cultural politics are glossed over in favor of cursory musings about the daily vicissitudes of Lindsey's life. This essay thus takes to task Ferriss's claim that a "serious" consideration of chick lit "brings into focus many of the issues facing contemporary women and contemporary culture - issues of identity, of race and class, of femininity and feminism, of consumerism and self-image" (2). I contend that a close examination of Keltner's The Dim Sum of All Things discloses that the chick lit format undermines a "serious consideration" of Asian American issues by presenting in particular a highly problematic representation of race and of Asian American femininity.

• The Journal of the Korea Contents Association
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• v.21 no.4
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• pp.734-743
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• 2021

TV drama , aired on JTBC in 2018, used several fictional and linguistic clues on the murder case. It effectively delayed the process of inferring the perpetrator by utilizing 'ambiguity' and 'trap', which enabled the double interpretation of the the main character's diaglogue and action. This delay could be made by employment of genre hybrid, cognitive process and knowledge of viewers about typical romance plot and mystery plot in TV drama. In other words, could be evaluated as a special genre hybrid case that disturbs viewers' perception of genre in that the correct reasoning process began from the point that overturned the viewer's expectation about typical romance genre dramas in which male main characters mostly devoted to love. The complicating mystery structure shown in is against the opinion that the traditional mystery structure is difficult to succeed in TV dramas. Also, from the perspective of hybrid genre, it is different from the usual mechanical combination of two different plots. These characteristics in are worth to highly evaluated.

• The Journal of the Korea Contents Association
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• v.22 no.4
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• pp.468-478
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• 2022

'True education', which was the core ideology of 'the Korean Teachers & Educational Workers Union', is re-appropriated in the new media era. This word, which is actively used by young people, means 'punishment against the object of social condemnation'. One of the characteristics of 'true education contents' commonly seen on the Internet is that it shows a tendency to 'fragmentation'. True educational contents are short in length, and the contents are very local. This reflects the characteristics of a postmodern society where totality disappears and small stories are consumed. Second, the standard for dividing good and evil is extremely 'arbitrary'. Whereas the existing stories of rewarding virtue and punishing vice had universal values such as love, consideration, and peace, the content of true education distinguishes good and evil with an extremely narrow perspective. The way to justify arbitrary standard is to incite public outrage. Third, 'humour' is added. Here, humor is combined with the emotion of hatred, causing the problem of weakening people's critical consciousness.