• Title/Summary/Keyword: Political Film & Media

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Study on the Media Phenomenon and Social & Political Discourse in 2000s Korean Public Movie (2000년대 한국 대중영화를 통해 바라본 사회·정치적 담론과 미디어적 현상 연구)

  • KIM, Min-Soo;Han, Hwa-Sung;Kim, Geon
    • Cartoon and Animation Studies
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    • s.42
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    • pp.125-150
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    • 2016
  • In the 2000s, Korean cinema maintained the industrial growth on the strength of 10 million audiences and the successful Korean blockbuster. A variety of film materials such as history, politics, social issues, and the division between North and South Korea ideology were addressed in the movies, and one of the movies based on a true story was popular. Accordingly, external size of the film industry has been gradually expanding. Korean public movies have a firm position in the film market, and a diversity of discussion is made as the movies spontaneously get attention. Also, the influence of social media and media which recognized far-reaching powers of public films causes a political and social change, but it also provokes ideology controversy. Objectivity of this study is first to discuss factors and initiating causes that Korean movies have firmly settled as public movies since late 1990s. Secondly, this study considers relation among media, social media. and Korean public film that aroused more arguments on politics, society, and history in 2000s. The powerful influence of films on society not only leads political change but also affects awareness change of audience and the role of social media.

The Political Fandom of Korean and the Acceptance of the Film : ,(2013) vs.,(2014) (한국인의 정치적 팬덤 정서와 영화의 수용 : <변호인>,(2013)과 <국제시장>,(2014)을 중심으로)

  • Choi, Bae Suk
    • The Journal of the Korea Contents Association
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    • v.18 no.1
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    • pp.289-304
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    • 2018
  • The fandom phenomenon of political emotion originated from ideological conflicts between the conservative and the progressive amplifies social conflicts in South Korea in interpreting and accepting films as culture media. The purpose of this paper is to examine why the structure of political consciousness in South Korea is fandomized, what is the acceptance of cinema at the center of the controversy of political ideology, and what is the desirable attitude of film reception. I conducted a discourse analysis that closely examined the debates and articles on the internet regarding ,(2013) and ,(2014) which were controversial in terms of conservatism and progressivism. As a result, First, while Korean society has not constituted a consensus on modern and contemporary history, it has easily led the acceptance of cinema to the controversy surrounding the political ideology. Second, the failure of constructing consensual memories of modern and contemporary history has made the conservative and the progressive not acknowledge the other's achievements. Third, film interpretation and meaning production are ultimately the roles of the audience, and on interpretation, diversity should be respected but conformity would be rejected. Film acceptance and interpretation should focus on rational awareness of social reality and would reflect on the social ideal objectively.

The Genre Variations of Female Film Noir: Focusing on the Film (여성 느와르의 장르적 변주: 영화 <미옥>을 중심으로)

  • Lee, Hee-Seung
    • Journal of Digital Convergence
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    • v.18 no.6
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    • pp.435-441
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    • 2020
  • This study attempts to analyze by the gender political point of view of the recent film, 'A Special Lady', focusing on the case of setting up women as the main characters in the 2000s Korean film noir genre. Concretely, this study conducted a narrative analysis focusing on the three elements of genre film, the identity of the characters and their family relationships, and the Oedipal trajectory. The film, 'A Special Lady', has the narrative about the maternal love assigned to female protagonist, and that emphasizes male pure love. And the film shows the flashbacks concerning to motherhood that prove the biological identity of the female protagonist, and signs that weaken the castration fear resulting from male voyeurism. Further, the film depicts the fragmentation of identity and the cracking of family relationships, revealing the confusion of gender identity and the narrative degeneration into family melodrama. Meanwhile, the film fails to complete the feminine Oedipal trajectory by reducing the female character's motherhood to a biological one instead of expanding it into an alternative quality embracing the other. These findings suggest that the korean gangster is closely related to gender politics and is not completely out of gender bias.

Effect of Watching War Documentary on Audience's Security Consciousness - Focusing on 'KBS Special, 100 Days of Invasion of Ukraine, Into the Fire' - (전쟁 다큐멘터리 시청이 수용자의 안보 의식에 미치는영향 - 'KBS 특집, 우크라이나 침공 100일, 포화속으로'를 중심으로-)

  • Park, DugChun
    • Journal of Korea Multimedia Society
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    • v.25 no.11
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    • pp.1613-1620
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    • 2022
  • Through previous studies, it was found that news from legacy media, including television, has an agenda-setting effect and priming effect on the perceptions and attitudes of audiences about politics and war, and that film media also has an agenda-setting effect and political priming effect on war issues. However, it is difficult to find studies on the effects of war-related TV documentaries on media audiences. Therefore, in this study, An experimental study was conducted to investigate whether there is a change in 'recognition of the importance of security', 'will for South-North Unification' and 'will to participate in war in case of emergency' for the audience who watched the KBS special <100 Days of Invasion of Ukraine, Part 1 into the Fire>. As a result of the analysis, it was found that watching a war-related TV documentary reinforced the audience's 'recognition of the importance of security' and 'will for South-North Unification'. However, it was confirmed that watching a war-related TV documentary did not strengthen the audience's will to participate in war in case of emergency.

Intellectualization of Film genre in Korea: the case of Film discourse From 1988 to 2007 (한국 사회에서 영화의 지성화 과정에 관한 연구 : 1988~2007년까지의 인쇄매체에 나타난 영화담론을 중심으로)

  • Kim, Junghwan
    • The Journal of the Korea Contents Association
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    • v.13 no.2
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    • pp.88-99
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    • 2013
  • This study considered the transition of changes in social status of the film through the discourse analysis of printed media, having been published since 6th revised film policy in 1987. For the purpose, Pierre Bourdieu's cultural sociology, or 'Field theory approach' was engaged as a theoretical background. On the basis of that theory, changes in social status was divided into expert and popular field. From 1988 to 2007, doctor's and master's theses on filmologie and the representative academic journal, "Film Studies" were examined with regard to area of expertise, and movie-related books with regard to popular one. This study demonstrated that the symbolic capital had inhered in the cinematic field along with specialization and diversification of analytic aspects, and the relation between the academic approach and political consideration had performed an important role in intellectualization of film.

기호학적 분석을 통한 영상애니메이션 연구

  • Lee Jong-Han
    • Broadcasting and Media Magazine
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    • v.10 no.1
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    • pp.85-98
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    • 2005
  • About the phenomenon of being imaged of everything, the scholars of the humanities who had studied on the simple reason structure in a text have been in a big agony how accept it. Especially, semiologists have studied about this for a long time and the points at issues of Saussure, Peirce as well as Umbeto Eco are more outstanding. Being based upon his philosophic interesting from medieval esthetics to modern semiotics, Eco was very concerned about the field of general esthetics and poputar arts like television and cartoons. He connected the mutual open-relations between 'signifier' and 'signified' debated in Semiotics with the open and vague modern arts and regarding it as a deviation from the custom, intensively studied the film-media. Saussure is a representative figure of semiotics and explained Sign and the character of semiotics as the division into two parts such as signifier/ signified, form/ substance, langue/ parole, synchrony/ diachrony. The triadic semiotics (the theory that Sign is composed of the triadic structure like sign, referent and interpretant) of Peirce put the new item- 'interpretant' in sign and referent to connect them and open the possibility to introduce time in to the Sign. In this paper, I try to analyze a cartoon film in the semiotic structure with the systemic, reasonable and logical approach and analysis as as possible. While the images shown through a film were depended on the romantic and impressional judge in the past, due to semiotics, it' s quite possible to correlate the procedure of symbolization to social coherence so that we analyze the incredible power of images to suck audiences with the systemetic Sign. I accept all ot film-images including a cartoon film as not the simple esthetic arts but a social custom and system, want to serve as a aid to properly understand world and humanbeings and prevent the film-image from being mystic. A cartoon and a cartoon film which were begun with the link of a text and an illustration give shape to all of images such as materials, places and even thoughts with a cartoon icon existed in only a cartoon. A cartoon and a cartoon film simply and exquistely conceptualize the complex and vague attribute of an organic creature and extend them infinetly beyond language. However, it can be exploited as a mysticism to temptate the general public and a faking material. In addition to that, it can distort our world-knowledge engaging a political power and the massive power of mass media. In this paper, being based on semiotics to approach a cartoon film in a scientific and organic system, I conclude that a non-linguistic cartoon expression is entangled with the manifold signs and implies the supplementary meanings just like a regular linguistic expression. It remarks that the iconic images of a cartoon film are composed of the social codes and can be analyzed on grounds of a linguistic system.

The Family and Individual in the Transmedia Storytelling of Young Adult Narratives (청소년서사의 트랜스미디어 스토리텔링에 나타나는 가족과 개인)

  • Chung, Hye-Kyung
    • Journal of Popular Narrative
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    • v.27 no.2
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    • pp.215-262
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    • 2021
  • This thesis focuses on Wandeuki and Elegant Lies - novels written by Kim Ryeo-reong and adapted into the film by Director Lee Han; this thesis analyzes the process of storytelling being transformed as the media is converted. Also, this thesis discusses cultural-political implications of transmedia storytelling where different narrative responses coexist concerning post-IMF family disorganization and "individualization." First of all, this thesis critically reviews existing discourses on the concept of transmedia storytelling and refers to 'transfictionality' the narratological concept of Marie-Laure Ryan in order to look into media conversion storytelling that starts from original novels. The novels Wandeuki and Elegant Lies show two aspects of "individualization" that adopts existential conditions of family disorganization. Wandeuki deviates from patriarchal family romance through self-discovery and exhibits loose family bond, which is something similar to companionship of close individuals. Elegant Lies shows individualization of pain by portraying a teenager who found herself completely isolated, while showing that it is impossible for the people left behind to mourn. On the other hand, director Lee Han's films and show stories in which family members, who are confronting family dissolution, rediscover and restore their families against family dissolution. The film promotes the expansion of family community through multicultural identity, and the film completes condolence of the people left behind by having the remaining families survive as survivors of suicide. The storyworld of the novels puts emphasis on 'self-discovery' of individual adolescents, while the storyworld of the movies puts emphasis on 'rediscovery of family'. Through transformation of storytelling - especially the redesigning of narrative structures called "modification" - transmedia storytelling shows that the relationship between media-converted texts is far from "faithful representation," but rather, shows conflicting themes and perspectives. With a reference point of 'the emergence of character' transmedia storytelling, which is predicated on the original work but aims to free itself from the original work by transforming storytelling through media conversion, opens up polyphonic storyworld by creating heterogeneous voices. In the post IMF-era, where uncertainty mounts over family dissolution and individualization, polyphonic storyworld created by transmedia storytelling provides an opportunity to experience disparate desires over individual freedom/risk and complacency toward community. We can call this the cultural-political implication of transmedia storytelling based on transferring, transcednding, and transforming.

Symbolic Values of Fur in Fashion Since 1990s - An Analysis under the Theories of Fetishism -

  • Hahn, Soo-Yeon;Yang, Sook-Hi
    • Journal of Fashion Business
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    • v.5 no.5
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    • pp.49-64
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    • 2001
  • Fur is conceived as a material signifier, not only with its commodity value as luxury goods but also as its symbolic value as objects invested by one's libidinal desire. In this study, complex meanings of fur as multi-layered signs of political and sexual power focusing on fetishism shall be explored, especially on the spectacle fetishism acted by mass media during the anti-fur movement in the 1980s. In conjuction herewith, a highlight shall also be made to the symbolic value in fashion design since 1990s. In this study, first, as a theoretical investigation, fetishism, that has been traditionally considered only as sexual fetishism in fashion discourse will be explored in socio-economic level. Second, in historical context, how the meanings and values of fur have become realized in various cultural spaces, such as literature, art, film and finally, fashion will be viewed. In fashion, fur is a product of desire and power influenced by commodity fetishism as well as sexual fetishism. During the anti-fur movement, mass media has developed the concept of spectacle fetishism. Fur is a sign of animal-victim, and fur-clad women is viewed with images full of imperialsm, sexism and racism, thus act as derisive spectacles of consumerism. Since 1990s as a reflection on anti-fur movement, fetishistic characteristics, which challenge traditional operation method, are expressed by disguise, parody, and returning to the nature. First, fur as disguise is intended to hide sexually perverse, decadent characteristics and expensiveness of fur by texturing or patterning techniques. Second, fur as parody uses fake fur or dyed fur in order to satirize erotically and ethnographically fetishized meanings of fur. Third, aboriginal design of fur is adapted to use symbolic values outside the West, which can potentially mobilize antagonistic oppositions out of their fetishistic regimes. In conclusion, fur as sign of female sexuality and its libidinal profits of exchange, has significant symbolic values expressed in fashion.

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The Study of Documentaries' 'Rhetoric' as a Statement on Social Issues: Focused on EBS-TV (사회적 쟁점에 대한 발언으로서 다큐멘터리의 수사학 연구: EBS-TV <지식채널(e)>를 중심으로)

  • Kim, Nam-Il;Lee, Gyu-Jeong
    • Korean journal of communication and information
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    • v.53
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    • pp.53-72
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    • 2011
  • has become the representative program of EBS after first airing in 2004. After seeing as a media text, this study was fulfilled on the basis of Bill Nichols' "Rhetoric" discussion, in order to analyze the structural method and social meaning of the program. As a result of the study, we were first able to see that was taking form as a documentary to make a constructive statement on current affairs related to Korean society, by mobilizing 'knowledge' related to these issues. Second, the "rhetoric" plays an important role in the program's process to generate meaning, and despite the text being relatively short, the rhetorical process undergone for the generation of meaning has been fully reflected. Moreover, the program was successfully structuring a new method of generating meaning by enthusiastically raising questions and choosing a unique method of vision mix. Third, by looking at the study's results in-depth, we can see that was creating a ideological place for open discussion, which was providing viewers with the satisfaction of overcoming our society's dominating ideology and forming new ones. In that sense, the easily accessible 'knowledge'that surrounds us holds somewhat of a political meaning. On top of that, it can be seen that the program especially, is a media text that holds a cultural political meaning, which is an important factor to consider in the Korean broadcasting industry. In conclusion, we found out that this program uses 'knowledge' to see the possibility of 'knowledge'journalism by making constructive statements through a 'rhetorical' process.

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The Style and Cultural Significance of Film Color White (영화색채 하양의 활용 양상과 문화적 의미)

  • Kim, Jong-Guk
    • 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).