• Journal of Digital Convergence
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• v.19 no.9
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• pp.289-297
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• 2021

Animation is a media reflecting social ideas, not only conveying information but also creating a new discourse. The purpose of this paper is to examine the social issues and gender discourse reflected in the media by analyzing the gender discourse inherent in the protagonist and surrounding characters, narrative characteristics, and background of the Ghibli animation "The Tale of the Princess Kaguya". As a research method for this purpose, figure out social problems related to gender performance, and analyze prior researches to derive a connection with the gender discourse in the animation. Grandfather is symbolic of a father who forces his daughter to follow his chosen happiness, and grandmother represents a mother who can not stop her husband. Stemaru is the character not in the original, posing a question of the problem of gender performance while failing to get married due to lack of sufficient wealth and honor. Princess Kaguya had been self-reliant and active like a modern woman at the beginning of the story. However, after being suppressed by society and people around her, the stereotyped gender performance forced Kaguya, who longed for the earth, to wish to return to the moon. Such social pressure happens in modern society. Gender performance is a systemic problem to be solved with systemic change. For this reason, constant consideration such as this paper is needed.

• (The)Study of the Eastern Classic
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• no.70
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• pp.119-156
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• 2018

Suk Dang Kim Sangjeong (1722-1788) was one of the Big Three Noron literati of the mid-18th century, and is an author worth taking note of in that he expressed the duty to pursue the Qin-Han gomoon-ron (古文論) more clearly and radically than anyone else. The literary debates that unfolded in the letters he exchanged with Ahn Doje (安道濟) and Sin Daejeon (申大傳) are the clues that may explain the continual development of Qin-Han gomoon-ron within Joseon. His gomoon-ron is a self-reflection of the Dang-Song gomoon-ron that continued as tradition in the Noron literati after Kim Changhyeop (金昌協), and also reflects his literary and periodical confidence. At the same time, he also makes a distinction with Qin-Han gomoon-ron set forth by the Seven Masters literature from the Ming Dynasty (前後七子) in that he takes precautions against plagiarism and emulation. It has rarely been shown that his sentences plagiarize and excessively cite the classics, or that he abstrusely elaborates sentences. He sorted through things of value worth recording and cleanly reenacted them based on the scenes and conversations, further, delivered applicable normative lessons through allegoric writing. This may be discussed as the portions that are possessed by the Qin-Han gomoon-ron that he pursued, and particularly that have the esthetic and contact point of historical prose. Kim Sangjeong's writing pursued the Qin-Han gomoon-ron of a prior era, and though distinguishable from authors of difficult writings, possesses unique characteristics that make it distinct from the Dang-Song gomoon-ron that focuses on argument. The direction of Kim Sangjeong's antiquarianism seeks after imperial loyalty, and is mutually intelligible with the artistic discourse of the Noron Cheongryu literati such as Lee Yunyeong, Kim Sangsuk, Lee Insang, and Hong Naksun who preferred archaeological finds and classical prose. While their literary tastes are a reflection of their conservative worldviews, they may also have been utilized as a foundation supporting their lives which were devoted to literature.

• Journal of Korea Entertainment Industry Association
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• v.14 no.4
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• pp.67-75
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• 2020

Metonymy can be said to be the only language's meaning shifting technique that exists in the domain of a single human thought in order to obtain a transparent cognitive effect. The purpose of this study was to analyze the 'descriptive metonymy' of the advertising content language constructed by the cognitive principle and to find a way to use it in media language education for social and cultural interests and reflection of college students. The metonymy used in advertising media contrasts with the difficulty of the metaphorical interpretation of "opaque and distant" reasoning. Storyboards, mostly focused on human emotions and behaviors, used metonymy's 'transparent and easy meaning shifting technique'. I have found that I can expect the efficiency of media language education that contains the interest and sociocultural interest, self-reflection, and future imagination of college students. Now, there is less need to perform cognitive reasoning for advertisements with ambiguous metaphor techniques. Lastly, in order to produce successful advertising content, we expect to use the language technique of 'narrative metonymy' with warm feelings of humans, and acknowledge the lack of quantitative research and leave it as a task for the next research.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.221-229
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• 2019

This study intended to find out the participants' learning process in senior counselling program for life care and the meanings of senior's social support and participation in society. The study method was conducted with this researcher through a narrative' interview during 15-week learning course of senior counselling program in the life-long learning institute at A university. As the results, it could found that senior trainees were able to enhance their intellectual level through the senior counselling program to enhance their self-esteems and improve their memory through the education. Also, through the license of senior counsellor, they became more sophisticated and developed the abilities of comprehension and empathy about the senior in experiencing the intergenerational interactions in the space of social interactions, and the enjoyment of learning changed the senior's behaviors and increased their life quality. This research identified that a learning process enabled to continue the senior's social support and participation in society and made the senior achieve various interactions and practical learning through the exchange of trainees' various cultures. Based on these results, it is expected that various, systematic educational programs will be able to improve the senior's life care in future.

• The Journal of the Convergence on Culture Technology
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• v.8 no.3
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• pp.399-404
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• 2022

Céline Sciamma is a leading female director of her time. She is constantly making works on the subject of women. It can be said that it has pioneered a 'female narrative'. In particular, it shows a unique perspective in dealing with the complexities surrounding the formation of a girl's sexual identity and the influence of peer culture on individuals. In Portrait of a Lady on Fire, 'The Handmaiden', 'The Painter', and 'The Maid' show the solidarity of women without hierarchies in a liberated space where the patriarch is absent, showing a feminist interpretation of classics and a self-reflecting consciousness of women's historical records. Based on the setting of drawing, this film explores the genderization of gaze, gaze and objectification, issues of seeing and power, etc. constructed throughout the history of visual arts. The portrait work of Heloise and Marianne in the film deconstructs the formula of 'a male painter as a viewer and a female model who gazes at herself through the male gaze' and turns the gaze into an interactive process of giving and receiving. The process of exchanging gazes is sealed with a nude painting in which Marianne's face is superimposed on Heloise's body. This overturns the nude painting as the dominant form of engraving the male audience's position in the image through the stylization of the viewing method in the history of Western painting with the erotic gaze of a lesbian in an instant.

• Journal of Korean Classical Literature and Education
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• no.32
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• pp.159-191
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• 2016

This paper describes the procedure of recreating the classics which introduced in author's lecture on "Classics and Creation." The work and result of this paper is based on the activities in the Korean language and literature lecture which the author was leading at university A in Seoul in 2014. This paper aims to identify aspects of introspection that college students underwent during the procedure of recreating. The subjects for analysis were the works created by college students participating in the class through three presentations. In section 2, it is discussed three major issues regarding the process of recreating classics. One is "presentation of the background for the selection of the work to recreate and the way of implementation". Second is "analysis of the original works and case studies on recreated works". Third is "recreation of works and meta writing". Those activities were conducted as part of the lecture. In section 3, it is investigated that the pattern of introspection of college students. It focused on analyzing the attitudes of the students toward life based on their selection, analysis, and recreation of classic works. Moreover, their self-assessment of the recreated works was examined as well. It is noted that the attitudes and tendency of students when faced with problems if any. While the students in the class selected diverse works for recreating, this paper compared and analyzed the works and introspective aspects of two students who recreated Simcheongjeon. Therefore, aspects of creativity could be identified based on the pattern of their recreation, which participants subtly describe the relationship with their father in recreated works. In accordance with the analysis, it is required to select more works for an effective class on recreation of classic literature and investigate a more systematic and diverse methodology for doing so. However, since the class for recreation of classic literature uses the narrative of the original work, it would reduce the burden on creation. In addition, it is possible to scrutinize in-depth problems of participant's general issue in life by using classic literature as a medium for introspection. Moreover, it was identified that a public presentation of these works enabled exploring self-narration on more objective aspects and collecting feedback from others.

• Journal of Christian Education in Korea
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• v.67
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• pp.301-337
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• 2021

The researcher looked at the differences in views and various controversies surrounding Korean youth sexuality education in the wake of the Nth Room incident, which had a great impact on modern Korean society. Sex education for adolescents in Korea can be divided into public sex education through school sex education and the Youth Sexuality Center, and conservative/traditional Protestant sex education. Public sex education is partly influenced by feminist sexual ethics and comprehensive sex education abroad. Based on gender sensitivity and the right to sexual self-determination, four major projects are prevention of sexual harassment, prostitution, sexual violence, and domestic violence. However, the school sex education standard was criticized for stereotypes of gender roles and gender-discriminatory content, reinforced distorted myths about sexual violence, and exclusion of sexual diversity and various family types. Conservative/traditional Protestantism is based on the normal family ideology such as bisexual marriage, premarital chastity, and sexual ethics recognized only within marital relationships. It is a form of confrontation with public sex education while strongly opposing it. The researcher first analyzed the characteristics of public sex education, conservative/traditional Protestant sexual ethics and sex education, feminist sex ethics and sex education, and overseas youth sex education, respectively, while composing the curriculum for Korean youth sexuality education. And as a more fundamental solution to youth sexuality education, I pointed out that there are limits to asceticism, premarital chastity, gender sensitivity and sexual self-determination education, and found an alternative to the concept of body and sex in feminist theology. The researcher pointed out that it is necessary to reconceptualize the body and sex under the recognition that the most fundamental cause of distorted sexual culture is dualistic sex and understanding the body, centering on the research of various feminist theologians. And this was conceptualized into three concepts: holistic sexuality, mutual solidarity understood in relationships with others, and sexuality as a spirituality that extends to the global community. And with each curriculum, 1) Holistic Sexuality: Breathing, Narrative, Making the Shape of One's Body and Mind 2) mutual solidarity : Feeling the Breath of Others, Media Literacy through Conscientization, Sending a Good Wind 3) Sexuality as a spirituality that extends to global concern: It was proposed to pay attention to nature and to co-cultivate it, to listen to the earth's moans and create a new way of life, and to write a prayer with the earth and fellow living beings.

• Cartoon and Animation Studies
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• s.37
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• pp.159-195
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• 2014

An animation film, , is a work that declared a perfect revival of Disney. It is considered that the success was the result of its impressive theme song and characters working influentially. The main characters let audience experience empathy as well as catharsis by building the image of women making their own future without relying on men, and among the characters, Elsa is still popular even if one year has passed since its premiere in Korea. In the narrative genre, the character's degree of completion is regarded to be so important that it can even determine the work's success or failure. Accordingly, to analyze the personality structure among the major components of character rising, this study focuses on the psychodynamics of fear and desire which determines the directions of thought or behavior. Fear is the emotion attributed not to a real threat but to an ominous assumption about the future. Because fear that is originated from the memory of any deficit or suppression distorts our sound needs, escaping from fear means facing the reality. To verify the unique psychodynamics of the characters, the researcher analyzed the hierarchy of their attitudes, psychological dispositions, and psychic functions by using 'MBTI Personality Typology'. According to the results, (1) Elsa and Anna are in a conflicting relationship in terms of psychic functions. Although they are the combination that shows the highest possibility of conflict, the two sisters overcome it basically grounded on fellowship and family love. (2) Although Hans and Kristoff, too, are against each other in terms of psychic functions, the two male characters do not interact with each other in the work. (3) Hans is a person equipped with psychic functions that can complement both Elsa and Anna the most effectively, but he abuses it and turns into the most fatal opponent to them. (4) Olaf is a type of person combining Anna's attitudes with Elsa's psychological dispositions. And according to the results of analyzing the frequency of expressing fear and desire, (1) Elsa employs overwhelming fear and Anna and others characters use desire as the major drive of their behavior. (2) Fear is the underlying deficit internalized in every character and is attributed to 'the deficit of family love', and as a result, they all share the pain of 'loneliness and isolation'. It is thought that analyzing psychodynamics will help us understand the character's growth tale, that is, the narration that they distort their desire for the first motive to avoid fear and end up being ruled by it, and also, they realize the underlying reason for the distorted desire in the process of getting rid of their own fear and reach self-healing. Lastly, regarding character rising in the animation, it is expected that the directions and analysis results of this research will be referred to as a database in creating characters and setting up relations among them.

• Trans-
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• v.3
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• pp.55-86
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• 2017

This study begins with the necessity of the concept of reincarnation of film media and the inclusion of specific tendencies of contemporary films as post - cinema comes. Variable movements around recent films Challenging and experimental films show aesthetics that are difficult to approach with the analysis of classical mise en scene and montage. In this way, I review the dispositif proposed by Martin in films that are puzzling to criticize with the classical conceptual framework. This is because the concept of dispositive is a conceptual pile that extends more than a mise en scene and a montage. Dispositif films tend to be non-reproducible and non-narrative, but not all non-narrativef tendencies are dispositif films. Only the dispositif film is included in the flow. Dispositif movement has increased dramatically in the modern environment on which digital technology is based, but it is not a tendency to be found in any particular age. The movement has been detected in classical films, and the dispositif tendency has continued to exist in avant-garde films in the 1920s and some modernist films. First, for clear conceptualization of cinematic dispositif, this study examines the sources of dispositif debates that are being introduced into film theory today. In this process, the theory of Jean Louis Baudry, Michel Foucault, Agamben, Flusser, and Deleuze will help. The concept of dispositif was discussed by several scholars, including Baudry and Foucault, and today the notion of dispositif is defined across all these definitions. However, these various discussions are distinctly different from the cinematic dispositif or dispositif films that Martin advocates. Martin's proposed concept reminds us of the fundamentals of cinematic aesthetics that have distinguished between the mise-en-scene and the montage. And it will be able to reconsider those concepts and make it possible to view a thing a new light or create new films. The basic implications of dispositif are apparatus as devices, disposition and arrangement, the combination of heterogeneity. Thus, if you define a dispositif film in a word, it is a new 'constraint' consisting of rearrangement and arrangement of the heterogeneous elements that make up the conditions of the classical film. In order for something to become a new design, changes must be made in the arrangement and arrangement of the elements, forces, and forces that make up it. Naturally, the elements encompass both internal and external factors. These dispositif films have a variety of possibilities, such as reflection on the archival possibilities and the role of supervision, the reestablishment of active and creative audience, the reason for the film medium, and the ideological reflection. films can also 'network' quickly and easily with other media faster than any medium and create a new 'devised' aesthetic style. And the dispositif film that makes use of this will be a key keyword in reading the films that present the new trend of modern film. Because dispositif are so comprehensive and have a broad implication, there are certainly areas that are difficult to sophisticate. However this will have a positive effect on the future activation of dispositif studies end for end. Dispositif is difficult to elaborate the concept clearly, so it can be accessed from a wide range of dimensions and has theoretically infinite extensibility. At the beginning and end of the 21st century film, the concept of cinematic dispositif will become a decisive factor to dismantle old film aesthetics.

• Journal of Korea Entertainment Industry Association
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• v.15 no.8
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• pp.145-159
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• 2021

is a contemporary experimental film that forms ambiguity in the narrative and the psychological motivation of the characters, destroys linear temporality, and reminds of manipulation possibilities in digital images through varied techniques, and it carries implication by the fact that the transformation process of human subjects and self-awareness are connected to social trauma and makes way to infer by comparing it to the historical contexts of other nations or societies. centers on the space outside the screen, absent space, and the intrinsic meaning within the space and the frame and shares the information in the visible space and the space outside the screen and arouses an active perceptual process so that the audience can deduce the information that is not presented. The film visualized the historical meaning without describing the background of the times in detail and aimed to express the conflicts and worries between the god, a transcendental existence, with humans, which are marginal beings, within the conflicting structure among humans. Moreover, attempted to resolve the sadness of loss and absence through the spatial aesthetics and the film presented the progression of the situation through the contrast of the characters and also the comparison between light and darkness. This study intends to make an attempt of interpreting the realm involving personal (characters) stories and the social and historical backgrounds together with the religious sphere and discuss the visualization of the semantic context. In addition, this study analyzed the sequence of the scenes in , which reconstructs identity and historical cases and religious values to observe the meaning and characteristics and closely analyze the general meaning pursued by the film. discussed the issues of trauma that individuals, regions, and nations confront as a representation and interpretation of the trauma connoted in the film, and consideration can be provided about the implication concerning the situation and context in South Korea. Furthermore, the film placidly discusses the growth and agony in humans and the society without expressing it excessively, so it will be a valuable research result to inspire the trend of creating films that incorporate new imaging technology and original visualization techniques.