• Korean Institute of Interior Design Journal
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• v.16 no.2 s.61
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• pp.347-356
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• 2007

The concept of time-space to be seen in the modem society has complex features at the points of scientific, philosophical, artistic, religious point of view. It has been brought up at a points of neo centric religious, philosophical view and then after, phenomenal approach and scientific approach were rendered through Newton and Einstein and so many scholar approaches affected the artistic field significantly. With such visual expression, it has affected the paintings for a long time till the 19th century, and then has affected various fields such as photography, film, video, computer, architecture and has currently affected the various space expressive of our daily lives and virtual space of digital. This study is to extract a visual and expressionistic characteristic through historical examination and multi-scholar analysis of time-space concept. Especially, by expanding the previous time and space concept, experimental cases and expressionistic characteristics has come up on the media art that offers various experience and by analyzing the expressionistic characteristics of the time-space concept expressed in media art, it is to extract the basic factors for the diversity of space experience.

• International Journal of Human Ecology
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• v.17 no.1
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• pp.15-25
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• 2016

A number of studies in recent years of have begun to look at the connection between country affinity (an interest in and admiration of a particular country) and a desire to buy the products and services of that country. Country affinity has been shown to be particularly important when consumers lack other sources of information about a good or service. However, except for direct questioning, methods to identify the affinity consumers might have for another country are lacking. This study examines the degree to which attending a movie set in a particular country will be related to an affinity for that country and possibly by extension the goods and services of that country. It is not the goal of this study to suggest that movies create the affinity, but rather that that the affinity will exist for viewers of the films. Two films set in Ireland and featuring Irish actors where shown to audiences composed of Korean students and a small number of Korean adults. As a point of comparison, students in two introductory consumer classes were also asked to complete a similar questionnaire. Four affinity factors were identified from a list of 17 items. Those who attended the historical drama showed a greater affinity for Ireland than those who attended the romantic musical. Affinity for Ireland among Koreans was also meaningful in predicting interest in purchasing Irish products.

• The Journal of the Korea Contents Association
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• v.8 no.11
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• pp.115-124
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• 2008

My former thesis was about the present status of Korean film aesthetics of Korean blockbusters through the cultural hybridity. Now this thesis focuses on hybridity and tragedy in Korean blockbusters from the postcolonial perspectives. Typical examples are Shiri, JSA, Taegukgi containing a special Korean situation of division ideology and expressing an extremely Western style of production. These movies hardly provide any historical causes, critical explanation, or vision beyond the discourse of national tragedy. They simply supply sentimental feeling of sympathizing with the misfortune of heroes in the course of national suffering. Therefore, these movies shows limitation not to accomplish postcolonial resistance.

• Journal of Sport and Applied Science
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• v.5 no.2
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• pp.1-7
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• 2021

Purpose: This study started with an interest in sports culture-related content and aims to comprehend the application of traditional and contemporary cultural content to sport business. Research design, data, and methodology: The current study reviews related-documents, research papers, media reports, and a secondary data. The collected data were multiple reviewed via content analysis. Results: Findings are as follow. First, the study found that sports is born in religious rituals which are associated with human needs for survival and prosperity. Second, sports is sort of official format that inherent desire of human could be satisfied, representing play and game. Third, the current study discovered that sports could be cultural products such as literature and film. This is because sport has often been used as major themes in contemporary art production. Finally, this study included important cultural content categories, but could not cover all categories due to the limitations of the study. Conclusions: this study reviewed multiple literature to decode historical and anthropological meanings of sport. The finding presents the cultural traits and meaning of contemporary sport. Further implications were discussed.

• The Journal of the Korea Contents Association
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• v.6 no.11
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• pp.56-64
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• 2006

It seems that there has been a tendency of faction film which reveals imagination of state/nation. As typical examples, & would show the relationship between some factional imagination and the project of blockbuster. In this regard, I've researched the tradition of cinematic representation of state/nation and some historical aspects which reveal the being of official films ruled by oppressive political intention. As a kind of discourse dealing with state/nation, & have specific strategy of representation. The analysis about that process might enable us to understand what is nationalism and what is the nature of ideological discourse consumed by faction-related products.

• Journal of Popular Narrative
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• v.26 no.1
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• pp.175-209
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• 2020

This paper examines how the cinematic representation of the Japanese military "comfort women" stimulates 'imagination' in the realm of everyday life and in the memory of the masses, creating a common awareness and affect. The history of the Japanese military "comfort women" was hidden for a long time, and it was not until the 1990s that it entered the field of public recognition. Such a transition can be attributed to the external and internal chronopolitics that made possible the testimony of the victims and the discourse of the "comfort women" issue. It shows the peculiar status of the comfort women history as 'politics of time'. In the same vein, the cinematic representations of the Japanese military "comfort women" can be found in similar chronopolitics. The 'comfort women' films have shown the dual time frame of the continuity and discontinuity of the 'silence'. In Korean film history, the chronotope of the reproduction of "comfort women" can be divided into four phases: 1) the fictional representations of "comfort women" before the 1990s 2) documentaries in the late 1990s as the work of testimony and history writing, 3) melodramatic transformation in the feature films in the 2000s, and 4) the diffusion of media and categories. The purpose of this article is to focus on the first phase and the third phase in which the issue of 'comfort women' is represented in the category of popular fiction films. While the "comfort women" representations before 1990 were strictly adhering to the framework of commercial movies and pursued the sexual exploitation of "comfort women" history, the recent films since the 2000s are experimenting with various attempts in the style of popular imagination. Especially, the emergence of 'comfort women' feature films in the 2000s, such as Spirit's Homecoming, I Can Speak, and Herstory, raise various questions as to whether we are "properly" aware of issues and how to remember and present the "cultural memory" of comfort women. Also, focusing on the cinematic representation strategies of the 2000s "comfort women", this article discusses the popular politics of melodrama, the representation of victims and violence, and the feature of 'comfort women' as meta-memory. As a melodramatic imagination and meta-memory for the historical trauma, the "comfort women" drama shows the historical, political, and aesthetic gateways to which the "comfort women" problem must pass. As we have seen in recent fiction films, the issue of "comfort women" goes beyond transnational relations between Korea and Japan; it demands a postcolonial task to dismantle the old colonial structure and explores a transnational project in which women's movements and human rights movements are linked internationally.

• 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.

• The Journal of the Korea Contents Association
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• v.20 no.5
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• pp.243-250
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• 2020

In the movie <12 Angry Men>, the prejudiced gaze of each jury with the title of "reasonable discussion" or "positive critical rationality" based on the theory of public opinion of Habermas constantly appears. Prejudice is a concept that cannot be judged right or wrong in itself, but as a current social and historical atmosphere, it is judged to be a hindrance to communication in the process of communication and public opinion and often causes social problems. Therefore, in this paper, the concept of prejudice is ultimately investigated by projecting Habermas' theory of public sphere in the movie, looking into the prejudices, and examining the prejudice through the discussion of the jury, that is, the process of resolving the conflict. We are going to draw realistic implications through the mediator of film about how to solve problem of 'prejudice' in the real world. As a result of the study, Habermas' ideal public opinion on the 'consensus for the community' and 'universal rationality' according to the theory of public sphere in Habermas appeared in the film, but partially from the complete prejudice by the 'wall of reality' in the film. It has been found that freedom from prejudice is difficult and that prejudice is a necessary evil in terms of mutual understanding and publicity.

• Cross-Cultural Studies
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• v.44
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• pp.29-58
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• 2016

'Post-memory' is the act of remembering traumatic events in history by subsequent generations who have not had direct experiences or relations with them. For this reason, the narratives of 'post-memory' are considered as re-interpretations of the past deeply influenced by current perspectives and concerns. The Chilean film NO goes back to the Referendum of 1988 in order to examine the "NO campaign" which was opposed to another eight years of continuation of the Pinochet regime. Although this campaign contributed significantly to the Chilean democratization, the filmmaker does not just celebrate it: rather he attempts to cast a critical reflection on its strategies that eventually turned democracy into a "commodity" by deploying commercial language and marketing tools for characterizing and describing it. On the other hand, the Korean movie The Attorney sheds light on the story of an attorney who, during the military regime in the 1980's, became a human rights lawyer when he tried to advocate for university students accused of violating national security law. This film reconstitutes the meaning of democracy built upon the logic of "common-sense" that privileges freedom and fundamental human rights over Statism. Despite the different historical contexts between Chile and South Korea, these two movies retell the history of a dictatorship that ended a couple of decades ago. In doing so, they raise questions about history, memory and democracy in order to deepen the understanding of current social and political circumstances while placing an emphasis on the roles and responsibilities of intellectuals during the transition to democracy and democratic consolidation.

• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.123-132
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• 2019

This paper analyzes the performances of actor Song Kang-Ho in the background of interdisciplinary and integrated film acting, using performance rather than acting as a general term. If the act is a concept limited to acting training or acting skills, performance is a broad concept that includes expressions, movements, and emotions. The performance on the screen can be explained in the context of film and can be extended to the social attitude of acting. In addition, I used the term screen in terms of representation rather than film referring to medium. Song Kang-Ho expressed the performances of various characters in more than 30 films. Although his facial expressions, gestures, and voices suitable for individual characters in various genres are represented in various ways, personality inherent in the actor Song Kang-Ho integrates persona with character. What drives it is the social attitude of screen performance. As a sign, acting is an ideological construct and foregrounds a character who describes a certain social and historical moment. Song Gang-Ho as actor, persona and character, who asserts the popularity, speaks to society and makes discourse. His comic performance is always confronting the tragedy of life, his face is the spirit of the times, and it expands into social meaning. The face of the close-up does not laugh at all, the gesture symbolized by the curved rear view is exaggerated disorderedly and disturbingly, and the voice using dialect accent does not follow the standard of the vocal.