• 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.

• Korean journal of communication and information
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• v.65
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• pp.76-92
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• 2014

The purpose of this paper is to disclose the characteristics of SNS service platform in the perspective of 'dispositif'. To achieve this I extended Foucault's concept of 'dispositif' to the Internet and service platform of Google, Facebook. The platform dispositif is a complex of the interface services for the users, collection of data produced by users and the control of them. These three aspects are combined in the service platform modifying their modes in terms of time and space. This study would provide a critical approach toward the appropriation and control of user activities based upon platform.

• Journal of Korea Multimedia Society
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• v.21 no.12
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• pp.1513-1525
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• 2018

This study examines the mechanism of how the dispositif, a dispositional concept of television, which is changing in form, Q-Sheet, is expressed as 'ideology' embedded in television. The dispositif implemented in television aims at the realization of mechanical desire through the internal disposition and makes the reality that it dazzles the public by adjusting the density of the gap and depreciates the existence of the aura itself. Instead of gaining new experience through the disposition, the public accepts the manipulated experience and falls into the illusion that it is true. In the television literacy program, the Q-sheet acts in the intervals and gaps that exist in the movement between the stacks, spreading the ideology, and the act of Channel Surfing by using the remote control is also a dispositf form of television viewing. In modern capitalist societies, television disposition are regenerating through proliferation and expansion, showing intent to dominate even art and culture through disposition, and autonomously injecting ideologies by television disposition.

• Trans-
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• v.5
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• pp.1-27
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• 2018

What is 'analyzing a movie'? And, what is 'its role in film studies'? The question required a systematic and scholarly answer, and filmologie was making a clear place for itself. Through psychology, aesthetics, text theories and of course semiotics, the conceptualization of 'film' has been formed. Deleuze, who has been continually writing about 'movies' in his philosophical essays, ended the debate in defining the relationship between 'image and essence' when he released 《Movie 1, Movement-Image》 in 1983. 'Film' rapidly became the topic of the century and became a 'device' that leads the way of thinking. The reason why Jean-Louis Boissier labeled this 'film' as 'device (le dispositif)' was not part of film studies. What should be noted is that the mention of 'film' became a key part of the debate of 'reproduction', which was the most popular subject of philosophy and humanities. In the digital era, the film is once again questioned about its definition. In retrospect, themes of core debates of 'History of cinema' have always been driven by simple and superficial technological changes. With the emergence of CG (Computer Graphics), the question of 'cinema' in the 21st century is not only a philosophical discussion on the problem of 'reproduction', but also a crucial change that shifted the focus of the debate on the nature of the film from 'production' to 'distribution'.

• Journal of Popular Narrative
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• v.27 no.3
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• pp.195-228
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• 2021

The purpose of this study is to review the mobility-based textual research methods raised in Mobility and Foucault and apply them to textual analysis. This book contains seven articles applying Foucault's terms to mobility studies, giving intellectual stimulation to both studies. Since Foucault examined discipline power operated through the technology of distinguishing between rational/irrational and normal/abnormal, his works seem to a study of closed spaces like prisons. However, the authors of this book note that Foucault's works already had sufficient insight on mobility, and them actively incorporated it into mobility study. When we concentrate Foucault's works on mobility as a governmentality and a dispositif, the tension and dynamics between mobility and immobility are emphasized. And then it is possible to cross the simple dichotomy in mobility studies. This paper analyzes Kim Joong-hyuk's short story 1F/B1 by applying this method. This story describes a building manager who seems to be fixed in a building, but the mobility of him in the story goes through stereotypes and creates new spaces. Kim Hye-jin's short stories also represent mobility that cannot move and hesitates. These stories are important in that they show the mobility as a dispositif that constitutes the subject. When referring to the achievements of Mobility and Foucault, we read this narrative again by paying attention to the dynamics of mobility and immobility in the text. The significance of this paper is that it expands mobility-based textual research anew. While text analysis applying mobility study was usually focused on clearly mobile narratives such as travel statements and diaspora narratives, Mobility and Foucault drives new textual research by paying attention to the relationship between power and mobility, mobility and immobility dynamics. Therefore, this paper is significant in confirming the new meaning of the text revealed when paying attention to the representation of mobility in the narrative that no one seems to be mobile, and seeking to expand the mobility-based textual research method.

• The Journal of the Korea Contents Association
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• v.20 no.2
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• pp.607-625
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• 2020

This research tries to examine the possibility of non-regular workers' electronic panopticon experience and the possibility of secularization, and get which meaning of life through that. Seven participants were selected for this Ethnography Research; Five young workers and two self-employees. The research is as follows. First, the media system and medium such as the smartphone and social media operate as the electronics panopticon device which constantly being watched. Second, this kind of electronics panopticon experience tries to observe the discipline of itself and experiencing de-extermination which lost its diversity by intended to internalize the actions demanded by the employer. Finally, the participants performed secularization by resisting power devices through smart devices and media and seeking workers' rights and interests through the community. Therefore, this research confirms the media could function as electronic panopticons device and as a device for the possibility of secularization.

• 한국프랑스학논집
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• v.102
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• pp.1-28
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• 2018

Nous visons à étudier les récits de voyage de Chateaubriand par rapport aux analogies. L'analogie est un elément principal qui peut expliquer le caractère et la forme des œuvres. Nous examinons donc sa fonction, son sens et ses aspects principaux. Nous analysons de quelle façon et selon quel processus Chateaubriand l'introduit dans ses œuvres. Nous nous apercevons que l'analogie est l'exact pendant sur le plan des figures, du voyageur et reflète des sentiments romantiques que Chateaubriand comme voyageur éprouve. Les sentiments sont principalement la déception ou la tristesse face à la réalité qui est différente de ce qu'il imaginait et rêvait. Ils le conduisent à un désir de mettre l'imaginaire au-dessus du réel. C'est l'analogie qui est utilisée comme un outil littéraire utile en ce moment. Ensuite, nous nous apercevons que Chateaubriand introduit une vision autobiographique dans ses œuvres et l'analogie apparaît comme l'élément principal de l'énoncé autobiographique. L'analogie fournit des informations sur le voyageur lui-même et devient un dispositif très efficace pour exposer le voyageur «je». L'analogie est le précieux vecteur du souvenir. Cela influence profondément l'imagination et le sens poétique de Chateaubriand dans le même contexte que l'esthétique des souvenirs. En outre, nous nous apercevons que les analogies dans ses récits de voyage sont activement impliquées dans le travail de structuration qui crée des liens entre des textes hétérogènes et donne de l'ordre à des histoires. Elles peuvent économiser au narrateur le travail descriptif en assimilant de l'indescriptible à du connu. Les analogies tissent une sorte de trame arachnéenne qui donne au récits de voyage un sens et une cohérence.

• Lingua Humanitatis
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• v.7
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• pp.271-289
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• 2005

Dans cet article, nous discutons de certains $probl{\grave{e}}mes$ syntaxiques en ayant recours $\grave{a}$ la $th{\acute{e}}orie$ linguistique de Milner. Nous remettons en question $l'ind{\acute{e}}pendance$ et $l'identit{\acute{e}}$ de la structure syntaxique, la relation entre le plan syntaxique et le plan lexical, le $caract{\grave{e}}re$ de la $g{\acute{e}}om{\acute{e}}trie$ de la syntaxe, etc.. La discussion est non seulement linguistique mais aussi interdisciplinaire et ${\acute{e}}pist{\acute{e}}mologique$, dans la mesure $o{\grave{u}}$ nous examinons la nature de $l'entit{\acute{e}}$ syntaxique et la $m{\acute{e}}thode$ "scientifique" de la syntaxe qui donne $acc{\grave{e}}s$ $\grave{a}$ $l'entit{\acute{e}}$ syntaxique. Selon Milner, il faut distinguer la place du terme lexical avec la position syntaxique qui est $l'entit{\acute{e}}$ syntaxique. La $premi{\grave{e}}re$ n'est pas syntaxique $\grave{a}$ strictement parler, mais elle, observable contrairement $\grave{a}$ la seconde, sert $\grave{a}$ conjecturer la dimension syntaxique, $c'est-\grave{a}-dire$ le $syst{\grave{e}}me$ positionnel. Le dispositif $th{\acute{e}}orique$ dans la $th{\acute{e}}orie$ linguistique de Milner n'est rien d'autre que l'ensemble des propositions qui permet, en absence d'observatoire, de conjecturer le $syst{\grave{e}}me$ positionnel sur la base du $syst{\grave{e}}me$ des places. Dire $l'ind{\acute{e}}pendance$ de la structure syntaxique revient $\grave{a}$ dire qu'il y a une coupure entre le $syst{\grave{e}}me$ positionnel et le $syst{\grave{e}}me$ des places. Autrement dit, sans cette coupure, on ne peut parler de $l'ind{\acute{e}}pendance$ de la structure syntaxique. Ainsi $distingu{\acute{e}}s$, les deux $syst{\grave{e}}mes$ en cause se mettent en relation soit naturels soit non naturels ou par distorsion $d'apr{\grave{e}}s$ Milner. La relation naturelle est une relation lexico-syntaxique $n{\acute{e}}e$ au moment $o{\grave{u}}$ un terme lexical occupe une position syntaxique dont la $cat{\acute{e}}gorie$ est identique $\grave{a}$ celle de son occupant. A la $diff{\acute{e}}rence$ de cette relation d'occupation naturelle $suppos{\acute{e}}e$ chez Milner comme une tendance du langage naturel, la relation d'occupation non naturelle est "paradoxale" dans le sens $o{\grave{u}}$ elle est produite dans la rencontre plus ou moins "anomale" entre l'occupant lexical et $l'occup{\acute{e}}$ syntaxique. Le $degr{\acute{e}}$ de l'anomalie qu'une langue autorise peut ${\hat{e}}tre$ $mesur{\acute{e}}$ empiriquement et doit ${\hat{e}}tre$ $vari{\acute{e}}$ en fonction de la langue $concern{\acute{e}}e$. Le $caract{\grave{e}re$ $g{\acute{e}}om{\acute{e}}trique$ de la syntaxe $am{\grave{e}}ne$ ${\grave{a}}$ remettre en cause, entre autres, $l'empiricit{\acute{e}}$ et la $mat{\acute{e}}rialit{\acute{e}}$ de la $g{\acute{e}}om{\acute{e}}trie$ syntaxique. En ce qui concerne ces sujets, nos $th{\grave{e}}ses$ sont les suivantes : la nature de la $g{\acute{e}}om{\acute{e}}trie$ syntaxique n'est pas a priori mais empirique ; la $g{\acute{e}}om{\acute{e}}trie$ de la syntaxe peut et doit ${\hat{e}}tre$ construite $\grave{a}$ l'aide de la logique "empirique".

• Korean journal of communication and information
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• v.77
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• pp.111-136
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• 2016

This paper focuses on the national "flagging" as a current affair, important phenomenon. National flags, it sees, take over varous places, control the surrounding space, and even dictate everybody's perspective by being visualized everywhere anytime. It investigates the issue of national flags and their hoisting poles as a sort of apparatuses that interpellate me as well as us into patriotic 'gookmin'. The placement, arrangement of national flag poles around the country continued throughout 2015 and particularly speeded up in October of the year is regarded as a key symbolic, symptomatic sign to read the transformation of political conjuncture. Preparing a radically conjuncturist cultural study about the changing reality, the researcher will see the flagging poles as a phenomenal result, outcoming of certain intent and plan for reconstructing the political actuality. More precisely, he will interpretate the tall omni-present poles of national flags as a dispositif of appearing the neoliberal/neoconservative capitalist state, as a apparatus of constituting and expressing the masses' psycho-ideological condition of today. The researcher, who perceives the national flag poles as a kind of ISAs. will first review the increased flagging phenomenon and related media discourses. Next, he will critically investigate the 'love our country' 'national flagging' movements organized by the above and operated from the bottom. Then, he will focus more on the very tall national flag poles built and seen around the country. Finally, he will conclude the study with a critical remark, touching briefly the case of controversy over setting a pole in the center of Seoul city square.

• Journal of Korean Philosophical Society
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• v.105
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• pp.423-460
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• 2008

Les positions qu'essait d'expliquer les $probl{\grave{e}}mes$ divers ${\grave{a}}$ propos de la $sexualit{\acute{e}}$, faisaient ressortir les points biologiques des actions $d^{\prime}{\hat{e}}tre$ humain par ${\acute{e}}volutionnisme$ plutot qu'explique les $probl{\grave{e}}mes$ de la nature humaine, $d{\acute{e}}sirs$ sexuelles, par les $sci{\acute{e}}t{\grave{e}}s$, les cultures et les'institutions. En face des questions des $possibilit{\acute{e}}s$ d'explications biologiques sur toutes les actions sexuelles, ils sont $plac{\acute{e}}s$ en crise. Le fait que $l^{\prime}{\hat{e}}tre$ humain est un'etre historique, n'implique pas ce qu'il est evolutionnaire. Pour cette raison, c'est difficile qu'on accepte le determisme biologique, $l^{\prime}{\acute{e}}volutionnisme$, sans conditions. En opposition avec cettes $id{\acute{e}}es$, Michel Foucault voudrait insister sur le fait de penser au sexe comme les $r{\acute{e}}sultats$ des productions sociologiques, politiques. Selon Foucault, la $sexualit{\acute{e}}$ n'est pas $donn{\acute{e}}$ de la nature que le pouvoir essaierait de mater, ou un domaine obscure que le savoir tendrait de $d{\acute{e}}voiler$, mais une sorte de dispositif historique. Donc, dans cet article, j'essaie d'examiner les processus, les differences, et les $probl{\grave{e}}mes$ entre les deux positions, puis je considere les limites philosophiques, des deux argumentations, et ses implications philosophique. Cela permet d'approcher ${\grave{a}}$ l'horizon divers du discours sexuelles de la $compr{\acute{e}}hension$.