• The Journal of Art Theory & Practice
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• no.5
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• pp.197-215
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• 2007

Yangbanxi("model plays") symbolize the Cultural Revolution(1966~1976) in China. The Eight Model Revolutionary Works include five Chinese Modern Peking Operas, namely, Taking Tiger Mountain by Strategy(智取威虎山), Harbor(海港), Shaijabang(沙家浜), The Red Lantern(紅燈記), and Raid on the White Tiger Regiment ; (奇襲白虎團), ballets such as The Red Detachment of Women(紅色娘子軍) and The White-Haired Girl(白毛女) ; and a symphony: Shajiabang(沙家浜). On April 24, 1967, Chinese leaders, including Mao Zedong, saw a performance of The White-Haired Girl. Yanbanxi was performed in Beijing between May 24 and June 15 the same year. The Red Lantern was designated as a work for the proletarian classes by Jiang Qing(Mao Zedong's third wife and the most influential woman in China) and spread nationwide. It was also made into a film to be enjoyed by many people. The modern Chinese operas went a long way in their creation of visual images of revolutionary heroes. The Red Lantern, in particular, came to be regarded as the most representative revolutionary opera. In the course of such a process, Jiang Qing used Yangbanxi as a political tool for compelling the people to worship and pledge their allegiance to Mao in an effort to turn the Cultural Revolution into a class struggle on behalf of her husband. During the Cultural Revolution period, artists were made to associate with workers, farmers and soldiers based on the idea of advocating revolutionary arts for the proletarian classes. The characters in The Rend Lantern were portrayed as heroes from the proletarian classes according to the demands of the era. Chinese leaders set forth the principles of artistic expression, stressing three important factors: politics, heroes, and heroic acts, which were to be applied to all the visual arts, including Yangbanxi. This paper attempts to present a new view of fine arts during the Cultural Revolution in China by focusing on the productive significance of a leading style of a specific era in the past. To that end, this paper sheds light on products made in conformance with political instructions, stressing the importance of revolutionary heroes in The Red Lantern.

• The Journal of the Korea Contents Association
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• v.19 no.12
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• pp.615-622
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• 2019

Recently, reports of cruel group sexual assault in India have been frequently reported. The most prominent group sexual assault incident in India was a medical student, Joti Singh case, that six men raped her and damaged her genitals and organs on a bus and caused her death in 2012. This incident led to the launch and passage of a strong punishment bill including death penalty for sexual assault. But since then, sexual assault is still on the rise. As a result of examining the relations with regional characteristics centering on the areas where sexual assaults occurred, it was found that most of the cases of group sexual assault reported in the media occurred in the mid-north of India, and this was consistent with the region of the Hindu stressed region. If so, it can only be concluded that Hindu fundamentalism, in which female neglect is severe, is the cause. Hindu fundamentalists try to revive the traditional values of women with a strong retroism tendency. In Indian society, women are still at risk of collateral damage. The pursuit of Hindu fundamentalism by the ruling party and political leaders will require much more time to improve the women's social status and human rights.

• Korea journal of population studies
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• v.11 no.1
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• pp.14-31
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• 1988

The national family planning program in Korea, which was instituted as an integral part of the nation's economic development plans since 1962, has contributed greatly to a reduction in the fertility and population growth rate. The total fertility rate dipped from 6.0 births per women in 1960 to 2.0 in 1985, and the population growth rate rom 2.84 percent per year to 1.25 percent during the same period, while the contraceptive practice rate for the 15-44 married women increased from 9 percent in 1965 to 70 percent in 1985. Study findings indicate that the fertility reduction in the past 26 years is largely attributed to the virgorous implementation of the national family planning program, rising age at marriage, wide-spread use of induced abortion, and the changes in attitude regarding the value of children that came into being in the wake of the rapid socio-economic development over the period. Among the strengths of the national family planning program are the following : 1) a pluralistic system of program manageent with active participation of various government and voluntary organizations, 2) utilization of a large corps of family planning field workers to conduct face-to-face communication and motivation activities, 3) use of private physicians with government support to provide contraceptive services, 4) a systematic program management system including program planning of traget allocation, evaluation, and supervision with a broad MIS and award system, 5) numerous incentive and disincentive schemes for stimulating the small family norm and contraceptive use, and 6) strong commitments to the family planning program by political leaders. The new demographic targets during the Sixth Five-Year Economic and Social Development plan period(1987-91) have been set for a further reduction in the population growth rate to 1.0 percent by 1993, assuming that the TFR will decline to 1.75 level in 1995. This target is, however, not easy to achieve due to anticipated unfavorable factors like the strong boy preference, high discontinuation rates of reversible contraceptive methods, fertility termination-oriented contraceptive use, a plateau level of contraceptive practice rate that has mostly accounted for a sterilization, shortened length of birth intervals, and the changing patterns of contraceptive mix. The recent changes in contraceptive and fertility behaviors clearly indicate that the past quantity-oriented management system of the national program should be redirected toward a quality-oriented approach. Particularly, program efforts should be expanded to recruit new contraceptive users in the 20s of younger age groups, both for birth spacing and controlling their fertility since the women aged 20 to 29 account for more than 80 percent of the total annual births in recent years. In addition, the current contraceptive fee system of the national family planning program should be gradually shifted from free contraceptive services to a acceptor's charge system, and the provision of contraceptive services through the medical insurance system, which will cover the entire population by 1989, should be accelerated as a means of integration of family planning program with other health programs.

• Journal of Popular Narrative
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• v.26 no.4
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• pp.9-41
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• 2020

Park Jong-won's debut film "Guro Arirang," based on a short story of the same title by Lee Moon-yeol, is the first commercial film to deal with labor struggles from a worker's point of view in the wake of the 1987 democratic movement, and a pioneering work in terms of representing female workers the Korean cinema has traditionally turned away from. In this film Park Jong-won tried to win the sympathy of the middle class for labor movement in spite of the red scare which still stood firm in the Korean society at that time. To convey its progressive message in a form acceptable to the middle class public, the film portrays labor issues in the light of universal humanity and ethics, not in terms of class hostility or struggle. Park Jong-won calls this point of view "common sense of normal people" and emphasizes its universality and objectivity. This study critically examines the cinematic strategies to deal with labor issues in a form acceptable to the public in a conventional and commercial film and the ideological implications of the "common sense of normal people" reflected in such strategies. The first chapter of the study reveals that the film destroys the irony of the original story and reduces the complex constellation of the characters to the conflict between pure good and evil, creating a melodramatic composition in which the good falls victim to evil. The tragedies suffered by the workers in the film are of course intended to arouse the audience's strong sympathy and solidarity with them. The second chapter shows that the film's various scenes and episodes converge on the them of compassion and grief, and are mostly based on cultural and real experiences and events that caused great public sensations at that time. Especially in the last decisive scene of the movie, the memory of the June 1987 uprising is strongly recalled. So "Guro Arirang" can be seen as a patchwork of proven cases of compassion and grief. The third chapter examines the implications of the scene where the workers turn back demands for wages and put the issues of human treatment and trust to the forefront at the crucial moment of their struggle. It appeals to universal moral values and sentiments that everyone has to acknowledge and removes the political dimension from the workers' campaign. While the film tends to become a pure story of humanity marginalizing irreconcilable conflicts of class interest, the workers fall to the position of passive victims who can be deeply sympathetic on the one hand, and on the other, are idealized as leaders with noble attitude keeping themselves aloof from the hard reality. As a result, the movie loses its realistic ground and weakens its narrative probability. The scenes reminiscent of the 1987 uprising which evoke the solidarity between working and middle class fail to integrate harmoniously into the whole story of the film and remain only as fragmentary parts of the patchwork of compassion and grief.