• The Journal of the Korea Contents Association
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• v.13 no.6
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• pp.125-136
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• 2013

Director Choi Donghoon is the most famous director in Korea as a box office successor, especially (2102) has gained No. 1 box office attraction in Korean film history. However some critics have criticised the works of Dr. Choi because of their plebeianness. This paper focused on the reason of interaction with audiences through the theory of carnival of Mikhail M. Bakhtin. Because the theory of carnival is not only the adapted method to account for the power of popular culture to M. Baktin but also the useful method to understand the keys of interaction of Dr. Choi's films. It's not difficult to find the esthetic elements of carnival theory example for 'dethronement & coronation', 'overturn & ridicule', 'image of feast', 'language of square' in the films of Choi which are The Big Swindle(2004), Tazza: The High Rollers(2006), Woochi(2009), The Thieves(2012). Therefore this paper has endeavored that the box office attraction and success of communication with audiences is due to the realistic attitude and social reflection of Choi's films.

• Journal of Fashion Business
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• v.25 no.2
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• pp.1-17
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• 2021

The development of the Internet has led to the emergence of an internet meme culture using duplication. This phenomenon has appeared in the fashion field as 'fashion memes' and its playful expression has helped it to spread. Vetements is one of the well-known brands that actively incorporates fashion memes into their fashion. The purpose of this study was to examine the playfulness of Mikhail Bakhtin's Carnival Theory and identify the playful identity, design characteristics, and implications of Vetements' fashion memes in light of Bakhtin's playfulness. The research methods were literature research and collection case analysis, and empirical content research was conducted in parallel. The scope of this study was fashion memes shown in the products from 2017 S/S to 2019 F/W. The study results showed that Bakhtin's playfulness could be divided into "playfulness in the destruction of hierarchy", "playfulness in grotesque imagery" and "playfulness in the emphasis on the lower bodily stratum". Based on these findings, the playful identity of Vetements' fashion meme images can be described as follows. First, it breaks down the existing order of fashion brands like the destruction of hierarchy in Bakhtin's theory. Second, it is grotesque; it is strange, eerie, yet ridiculous at the same time. Third, it is a playful metaphor of contamination, filth, and lower stratum. The modes of embodiment of such identity include Vetements' collaboration with famous brands, the use of cheap items, and the expression of genderless ideas.

• The Research Journal of the Costume Culture
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• v.26 no.6
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• pp.823-835
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• 2018

The body is an important object of costume expression, and the reflection of the aesthetics of the body according to age, culture, individual or group determines the form of the costume. In particular, British artist Leigh Bowery provided many designers and celebrities with original design ideas. Leigh Bowery's costumes are related to the carnival concept. Thus, this study analyzed Leigh Bowery's life and works, and examined Michael Bakhtin's grotesque carnivalesque theory. Based on Bakhtin's carnival theory around 100 works by Leigh Bowery, in the form of YouTube videos and DVD clips were analyzed in this study. The results of the analysis Leigh Bowery's body and costume research are as follows. First, this study can define fetishism as a characteristic of costumes such as body suits, harnesses, high-heeled boots, and stockings, that stress the body. Second, the character of the body is not expressed as that of an idealized body, but the fat and ugly aspect are revealed. Third, Leigh Bowery's costumes are characterized by ambiguity. The costumes blur the boundaries between women and men. Fourth, common sense, combined with normal and bizarre, brings out a strong sense of carnival humor with ridiculousness arising from the gap between reality and reality. His performance has had a significant impact on victims of discrimination or unequal treatment in sexual, racial, and age-related situations. This study should inspire many designers through the study of Leigh Bowery's body expression and dress, but it also introduces fashion icons that are not well known in Korea.

• Journal of the Korean Society of Fashion and Beauty
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• v.5 no.1 s.12
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• pp.97-111
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• 2007

This study was motivated not only by the curiosity of clown as a comedian, but also by the clown's special makeup coordination. To analyze the clown makeup coordination Carnivalism, the researcher inquired 1) clown's meaning, sorts, periodic roles and stages, 2) Mikhail Bakhtin's Carnival theory, and 3) makeup coordination of clowns (Harlequin, Pierrot, Auguste and White Face Clown) as the theoretical background. The clown makeup coordination carnival characteristics were shown in masquerade, amusement and ambiguity. The masquerade was expressed on the mask for Harlequin and white makeup for Pierrot, Auguste and White Face Clown. The amusement was revealed on the fall and the inharmony of the grotesque makeup and childish costumes. And also the ambiguity was expressed on the sexless and the infant of clown's real nature and costumes.

• The Journal of the Convergence on Culture Technology
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• v.9 no.6
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• pp.551-556
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• 2023

In this study, John Burningham's picturebooks(『Come Away from The Water, Shirley』, 『Time to Get Out of The Bath, Shirley』) was analyzed using the concept of carnival among Bakhtin's conversationalism theory. In John Burningham's picturebooks, the unconscious desire for the deviation of the main character, Shirley, is transformed into an adventure in an extraordinary imaginary world, and is depicted as a festival with laughter. Through picturebooks, children are satisfied by indirectly experiencing the forbidden behavior in reality by converting it into an event in the imaginary world. This indirect experience is very important for children to naturally resolve their dissatisfaction in reality and to develop their own original inner development. This study also suggests that providing an environment where children can easily access various picturebooks at home or early childhood education institutions plays a very important role in their growth.

• Journal of English Language & Literature
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• v.55 no.6
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• pp.1087-1101
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• 2009

The ongoing attempt to classify and categorize Jonathan Swift's literary work, A Tale of a Tub, as either satire or parody has not only opened issues concerning authorial intent and a present voice but also surfaced questions as to whether Swift identifies with what he is criticizing, thereby becoming the subject he schemes to destroy in his own literary work. In addressing these critical problems, my paper questions the boundaries of genre and analyzes the Tale, not within the conventional terms of literary genre, but by applying Bakhtin's theory of the carnivalistic impulse to Swift's Tale. Rather than focus on finding the author or identifying a voice within the text, Bakhtin's literary vision of carnivalization allows a means of subverting all rules yet holding the work together to present a shocking experience for the reader. Within the Tale, carnivalistic participation includes the reader who at one point is given the detached position of subjective spectator yet eventually decrowns the reader as both a carnivalistic participant and object of the same ridicule and derision once used to judge others. In conclusion, the Tale is revealed as a mocking commentary on the efforts of human beings/participants/writers to ignore the carnival aspects of existence and attempt to elevate themselves to the privileged role of spectator/reader.

• Journal of Korea Game Society
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• v.14 no.2
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• pp.85-96
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• 2014

The purpose of this paper is to analyze storytelling in on-line personal game broadcasting in order to find out unique characteristics of on-line personal game broadcasting. This study selects Youtube channel and as classic cases of on-line personal game broadcasting, and analyzes the cases with Bakhtin's theory of carnival. The on-line personal game broadcasting modifies the broadcasting format of mass media externally. Also, the on-line personal game broadcasting internally moves between interior and exterior of the game text in order to create new narrative events. In this process, the polyphonic utterances of the broadcasting host appeared. The reversal of the tragedy and the comedy leads the audience to catharsis.

• The Journal of Art Theory & Practice
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• no.13
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• pp.97-132
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• 2012

1799 Francisco de Goya published Los Caprichos with 80 aquatint etchings. On 6 February he advertised it on the front page of the Diario de Madrid. The long advertisement which began with "a collection of prints of capricious subjects, invented and etched by Don Francisco Goya" informed purpose, themes and methods of this collection of prints. According to this advertisement Goya "has chosen as subjects for his work, from the multitude of follies and mistakes common in every civil society and from the vulgar prejudices and lies authorized by custom, ignorance or self-interest, those that he has thought most fit to provide material for ridicules, and at the same time to exercise the artist's imagination." The text emphasized that the 'author' of this series didn't to want to criticise any individual and to be a copyist. From his phantasy Goya invented many creatures like the anthropic, humanized animals etc.. With Los Caprichos he stood on the threshold to Romanticism. The early researchers of Los Caprichos classified its author, Goya as an enlightened intellectual. The similarity of the themes of the series with the subjects of the Enlightenment, his some enlightened 'friends' and the idea to avoid the prevalent mystification of his life supported this theory. But this trend became revised since the 80's of the last century. This made possible to research Goya's works in new perspective and to see that Goya didn't criticise the Spanish society and his contemporaries. Rather he showed its reality and parodied through creatures which are mixtures of the reality that he observed, and visions that he invented. Characters and scenes in Goya's prints are ambiguous and equivocal. They have the values which are defined by the dualistic metaphysic in Europe as oppositional, like good and evil for example, at the same time. Goya himself also appeared in various types in this series. This ambiguousness, or "polyphony", as Jennis Tomlinson defined, is a symptom of the decay of the belief in the Enlightenment which spreaded in Europe as a result of the attack of Bastille and the French Revolution. Goya's self-portrait in pl. 43 of this series, "El sue$\tilde{n}$o de la razon produce monstruos" shows the complex psychology of him and his contemporaries as well. As the rest etchings after this print show witchcraft and monsters reside in the world in which the reason of the Enlightenment and the through the reason weakened God's rule lost their authority. In this thesis I will examine and analyse how Goya represented in Los Caprichos the nature of man and its society, as complex being in which the 'antagonistic' value couple as good and evil couldn't be divided, but are united.