• The Journal of the Korea Contents Association
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• v.14 no.10
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• pp.41-50
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• 2014

This study is the subsequent full-scale research of a TV drama writer who has been out of scholarly pursuits as it explores in-depth Su-Hyeon Kim's underlying consciousness with focusing on her male characters of the and . Su-Hyeon Kim shows difference which clearly distinguishes a melodrama from a home-drama by her own self control, a rare case in TV drama genres. This study, in her distinguished melodrama, analyses the writer's more clearly ignited consciousness. This study enlarges the result of the precedent study by applying the same Lacan's theory to the male characters with the study's female characters. Lacan's concepts of sexual difference notes that the sexual differences is not the product of the fixed differences from the biological organs or the inequal system, custom, but that of the psychological, cultural causes. According to Lacan's sexuation theory, the male subject is an all 'fractured' one of subordinating to symbolic/phallic order by becoming a exceptional being of breaking the order through a fantasy despite his existence of subordinating the order. The writer conceives men and women as the 'same', 'privative', 'fractured' subjects who search for the impossible phallic jouissance in their own different ways, which is the same method of Lacan's. Also the gap of 20 years of two works marks the writer's change of male perspective, in which shows being more accepting, more sex-neutral to a man who can only enjoy the phallic jouissance through a fantasy, while a woman who can enjoy both of the phallic and feminine supplementary jouissance.

• The Journal of the Korea Contents Association
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• v.14 no.2
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• pp.48-59
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• 2014

This study examines the characteristics in melodramas by comparing three major television broadcasting companies(MBC, SBS, and KBS) since 2000. The findings of the study are as follows: "Romance" melodrama is more common in MBC and SBS, than in KBS, where "family" melodrama is more common. The most cause of conflict shown in MBC is "love between the rich and the poor" that in SBS is "conflict between love and success", and that in KBS is the conflict similar to that between "Ondal the fool and Princess Pyeong-gang". The most common love relationship shown in SBS and KBS is the "single love triangle" and that in MBC is "double love triangle". In the shows of all three TV broadcasting companies, male protagonists most frequently belongs to "jaebeol" (the rich) and female protagonists are "company workers". The most common personality trait of male protagonists' in MBC shows is and "optimism", in SBS shows, it is "supercilious behavior", in KBS, it is "simple-hearted". However, the personality of female protagonists in the shows of all three broadcasting companies can be described as, bright and cheerful. In MBC and SBS, male protagonists were frequently portrayed as capable, and in KBS, as self-conceited. in KBS are the most frequent. Female protagonists in the shows of all three broadcasting companies were most frequently portrayed as hardworking.

• Korean journal of communication and information
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• v.51
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• pp.47-64
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• 2010

Korea film market is heterogeneously divided market that comes from competition between Korean movies and foreign imported movies. This research empirically analyzes genre differentiation in Korean film market with three dimensions (film audience preference, production and import, box office hit). The results indicate that, first, audiences who preferring Korean movie preferred 'cultural factor oriented genres', but audiences who preferring foreign movie preferred 'high budget oriented genres'. Second, imported foreign movie genre distribution was little bit different with box office hit genre of foreign movies. Foreign movie was imported not only hit genre (action genre) but also low cost genre (comedy and Drama/melodrama genre), but most of all Korean film was produced in box office hit genres (comedy and Drama/melodrama genre), third, Korean movies hit a box office in comedy and Drama/melodrama genre, but foreign movies hit a box office in action and SF/Fantasy genre. Those results show that Korea movies' genres are concentrated very much in cultural factor oriented genre. Those results can give implication of diversity policy and movie production strategy of Korea film market.

• The Journal of the Korea Contents Association
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• v.12 no.9
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• pp.126-135
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• 2012

This study is the subsequent full-scale research of a TV drama writer who has been out of scholarly pursuits as it explores Su-Hyeon Kim's underlying consciousness with focusing on her heroines, the and . The author Su-Hyeon Kim clearly distinguishes a TV melodrama from a TV home-drama by her own self-control, which is a rare case in TV drama genres, therefore, her consciousness lights up at her melodrama. This study applies Lacanian theory to the author's melodramas for examining the author's under-lying thought. For Lacan the subject is an 'alienated', 'privative', 'fractured' 'being' as an imperfect language, the symbolic order, forms the subject through its signification. The subject desires the other's desire, and wants to become an object for the other's desire. The desire constantly demands an integral world, a perfect love, the wholly harmonious imaginary order. And it lasts up as it refuses the symbolic order's imperfection while it works its unconscious fantasy. Lacan states that only the 'traversing the fantasy', 'separation' would give birth to the real, liberated subject. Despite a 20-years of rift within two works, the and have an identical conflict core, that is a subject's constitutive, fundamental privation and desire of a human being. Su-Hyeon Kim's underlying consciousness complies with her continued theses of an inquiry into the subject's real liberation and freedom when desire of the rings produces the subject's alienation, privation, and the pursuit of a impossible perfect love.

• (The) Research of the performance art and culture
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• no.35
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• pp.203-227
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• 2017

In this thesis, I examined the characteristics of modernism in this work, focusing on the melodrama "Sarang ye soggo donye wulgo(means 'Crying in Love and Crying for Money')", which was popular in the 30s when the consciousness of modernity was overflowing. There has never been an example of a connection between modernism and drama in the 1930s. The characteristic of modernism is clearly embedded in the representative drama of "Sarang ye soggo donye wulgo(means 'Crying in Love and Crying for Money')" at that time. In the title "Sarang ye soggo donye wulgo(means 'Crying in Love and Crying for Money')". 'Don' reveals modern elements. 'Love' can be seen as revealing melodramatic elements. The flair of modern art, which is a background to reveal modern elements, is spread throughout the works. Hongdo fails to complete the relationship with his family, as well as with the couple. It became a person who accepted the modernistic phenomenon by showing the domination of matter. While the typical method of constructing conflicts in the pre-modern narrative works is horizontal and sequential, it can be said that it was in the form of a train station, while the post-modern era of narrative conflict formation from the 30s forms a plurality of conflicts simultaneously, can do. The fear of the ordinary people who see the reality that urban and western values are already rampant by attempting new contents that lead the change of values in "Sarang ye soggo donye wulgo(means 'Crying in Love and Crying for Money')" became a factor to transfer into internal conflict again.

• Proceedings of the Korea Contents Association Conference
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• 2013.05a
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• pp.85-86
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• 2013

이 연구는 더글라스 서크(Douglas Sirk) 감독의 <천국이 허락한 모든 것> (1955)과 이용주 감독의 <건축학 개론>(2012)에서 집에 대한 '재현' 공간을 고찰하였다. 두 멜로드라마 장르 영화는 등장인물들이 대사로 직접 표현한 수 없는 것들을 가구, 소품 등의 미장센, 특히 리모델링을 하는 집을 통해서 보여준다. 집은 욕망을 스타일과 형식을 통해 산출한다는 점에서 멜로드라마 장르의 공간을 특징짓는 서술적 사건과 모티프를 담고 있는 구체적 장소의 역할을 한다. 이러한 맥락에서 이 연구는 멜로드라마 장르에서 집과 풍경들이 어떻게 영화적 공간(cinematic space)을 구성하고 그 재현공간이 갖는 사회적인 의미를 고찰한다.

• The Journal of the Korea Contents Association
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• v.13 no.7
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• pp.62-69
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• 2013

The purpose of this study is to examine how the masculinity types of the male lead appearing in melodrama genre TV series with 2005 as the borderline when we perceived the change of female types in TV drama series. To attain the goal, the paper analyzed the change of the male lead in 74 melodrama series that ranked high from 1992 till 2012 in terms of the ratings. As a result, from 2005, the types of masculinity of the male lead changed significantly. The followings deal with the details of the change: first, about the age of the male lead, those in the 30's or older increased. Second, unmarried men increased. Third, more of them saw men and women equally, and masculinity types setting no role division for men and women increased. Fourth, masculinity types of having more concern over their appearance increased. Fifth, masculinity types of relying on others when a problem occurred increased. Sixth, in relationship with others, passive masculinity types increased. There was no change in men's jobs, economic level, personality, or sexual consciousness. This study result shows that from 2005, stereotyped masculinity types shown in advanced research have disappeared a lot, and the current men image tends to show both male and female features.

• Journal of the Korean Society of Costume
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• v.64 no.7
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• pp.1-10
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• 2014

The purpose of this study was to analyze domestic research trends in film costumes and to suggest future research directions. 122 articles published in 17 KCI journals from 1996 to Oct. 2013 were classified by year, journal, research method, film genre, country of film-making, analyzed subject, and contents of research. Film costume-related research was initiated in 1996 and the largest number of articles were reported in 2005~2009. Many of these researches were reported in Journal of the Korean Society Costume. Most film costume-related researches were qualitative based on co-analysis of literature and film. Film analysis was done on melodrama genre and was done Korean or American film. Large portion of the research was on costume analysis. Film costume-related research was mostly focused on character's plasticity and symbolism.

• American Studies
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• v.42 no.1
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• pp.1-22
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• 2019

This paper suggests a genealogy of romance in Chang-rae Lee's Native Speaker, A Gesture Life, and The Surrendered. A flexible textual performance and literary strategy spanning issues of beauty and love, romance in Lee registers the writer's distinctive diasporic negotiation with sites of departure and arrival, in particular with traumatic histories of the m/other country. Native Speaker resolves the crisis of public immigrant love within the compromise in the domestic melodrama. As Lee turns to the scenes of historical trauma in the twentieth century transpacific, romance becomes a key strategy through which his aestheticized framing and deframing of comfort woman is performed and the Korean War finds odd comfort in the aesthetic energy of perverse care in Italy. Through the dehistoricizing movement outside of the historical into the realm of myth and nostalgia, Lee's diasporic romance breaks away from mandates of representation and works within the excess of mistranslation.

• The Journal of the Korea Contents Association
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• v.10 no.11
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• pp.102-112
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• 2010

This study is the secondary full-scale research of a TV drama writer, who has been out of scholarly pursuits. This study examines the Su-Hyeon Kim's differential and tendency in home-drama genre, who has been constructing a general idea of TV drama genre, namely a home-drama, and a melodrama. The purpose of this study is to reconsider the meantime both of exclusive evaluation by the functional measure of social norm, also by the feminism-based evaluation of her drama's supporting role of patriarchal gender ideology. By focusing on her recent highly popular home-drama (2008), this study shows that the writer used her own category grammar strategy of harmonizing both of convention and invention in genre. The conventions in genre are 'a big family', 'a pluralistic construction' 'a realism based on a everyday life', and 'a theme of love of a family with happy ending'. The invention in genre are 'a change of the 1st generation patriarchy', 'a change of the 2nd generation role of a housewife' and a change of the 3rd generation marriage customs'. Also this paper presents that the writer showed a humanistic tendency that pursues a recovery of both 'humanity' and 'love of family based on trusting', which have been destroying by capitalistic ideology, rather than discussing whether her tendency on the gender ideology of patriarchism is conservative or not.