• (The) Research of the performance art and culture
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• no.35
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• pp.229-247
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• 2017

This study was conducted through the typological analysis of theatrical activities and playscript of Packaging Troupe, which was a wandering theater troupe. It seems the activities of the packaging troupe were very active about in the 1950s. They approached to the public with various repertoires and gained popularity during the process. The playscript used in their plays can be divided into several types such as Yi dynasty drama, historical drama and modern drama and their titles are almost same as or similar to those used in Changgeuk troupe (classical opera), Female Gukgeuk troupe (Female classical opera), or Female Nongak troupe (Female farm musical band). Also, as themes, subject matters, and characters were partially same, the characteristics of previous theatrical activities could be reviewed through the playscript of packaging troupe. Also, the characteristics of the playscript of packaging troupe can be found in the list of gramophone record. The changes in popular culture can be examined in the flow of plays with various forms such as theater, film, and gramophone through the comparison between the characteristics of playscript types of packaging troupe around in the 1950s and the list of gramophone record. A typological analysis of playscript of packaging troupe confirmed the activities of packaging troupe lasted around in the 1950s. Also it can be inferred from Hyeopryulsa, Changgeuk troupe, Female Gukgeuk troupe, or Female Nongak troupe, which used traditional subject matters as repertoire of performance. Those were possible because repertoires were composed and contents changed according to the needs of the public. The changes can be also confirmed through the list inserted in the gramophone record. The association can be inferred through the same title as that of the playscript of packaging troupe and similarity of performance curtains and subject matters. As such, the interest and flow of popular culture can be examined through the types of playscript of theatrical activities of packaging troupe.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.361-395
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• 2019

This paper take a media archaeological approach to cinema transformed into a narrative medium during its transitional period, 1903-1915. To accomplish this, I will explore the question of as which narrative medium cinema was imagined and also how it was institutionalized as a narrative medium with authorship. I will explain that the imaginary and real ideas and changes on cinema resonated with each other on the foundation of its technological aspects such as indexicality, 23 frames/sec. and montage. It was during the transitional period that cinema was transformed from a medium representing spectacle to a medium of narration. The establishment of the American film copyright law in 1912 was an institutional, real outcome from the contemporary understanding of cinema as a narrative medium. At the same time, various ideas emerged that led to imagining of cinema as a complete narrative medium, incomparable to any other. From a media archaeological perspective, the imaginary ideas of media resonate with their actual course of development. These imaginary ideas are not just imaginary, but rather reflect the contemporary desire for the medium. This paper looks into the transitional period based on this media archaeological point of view. To this end, this paper will briefly introduce the notion of media archaeology as a media theory and then discuss Eric Kluitenberg's concept of 'an archaeology of imaginary media' and its methodologies. Second, it will explore literary and cinematic imagining of cinema as a powerful medium of storytelling, while discussing the ways in which cinema's technological characteristics played a decisive role in these imaginings. Also to show the techno-deterministic role of cinema in the real world, this paper will explore how its technological characteristics were considered as an important element in the processes through which America's first motion picture copyright was institutionalized in 1912 after two historical copyright cases: one is Edison v. Lubin in 1903 and Kalem v. Harper Brothers in 1909. Ultimately, this paper will lead us to an understanding of the history of cinema as a medium and its developments in more multi-layed way, as communication between the real and imaginary, and give us perspectives toward what cinema is.