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2007, Vol., No.18

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    Representation & the Meaning of 1950's Popular Films

    Hyejin Hwang | 2007, (18) | pp.7~33 | number of Cited : 7
    Abstract PDF
    Representation & the Meaning of 1950's Popular Films: focusing on Madam Freedom& The Flower in HellHwang Hye-jinKorean Popular Films in 1950s have meaning which show the social practices related with process of subject-construction. In the circumstance of post-war, American culture was desired as the symbol of democracy and capitalistic afluent. But for the most Korean people, especially for men, that kind of desire gave some painfulstres as wel as pleasure of captivative experience and they neded a symbolic solution to be working with efect. In that aspect, Film as a product of comercialism and very functional media represented women as sexual objects had been used to disavow castration anxiety through making fetish of women and things from America.Madam Freedomshows the impressive scenes placing women in the capitalistic exchange system and then make them Other.The Flower in Hell , also r e v e a l s w h a t w a s s o d a n g e r o u s t h i n g t o m e n i n p o s t - w a r p e r i o d as representing Korean military comfort women monstrously. But, inspite of those symbolic attempts to exclude women from official realm, it was u n a v o i d a b l e t h a t t h e p r e s u r e o f social change was a matter a great emergency. In this context, women in late 1950's popular films prove the being of historial space to compete for justification on the issues about genderization.1950년대 한국영화의 여성 재현과 그 의미 33Key Words1950s, subject-construction, castration anxiety, capitalistic exchange system, fetish/ism, genderization *
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    The Exoticism of Korean Popular Music in the 1950s

    이소영 | 2007, (18) | pp.35~71 | number of Cited : 14
    Abstract PDF
    The Exoticism of Korean Popular Music in the 1950sLee, So-YoungThis study investigates the trends of musical exoticism in the 1950s and its musical characteristics. I presented musical idioms found in exotic repertoires. I examined two categories's feature which have four sub- types;Islamic style, Chinese style, Afro-American style, American country & westernstyle. However, these style were not authentic style originated from their country. These style were a kind of musical gesture considered as the exotic image by Korean composers. I provided an in-depth analysis of the musical elements of exotic songs, including mode, rhythm and meter, tonality and harmony and then illuminated how these elements related to make the exotic soundand feature.First type is an Islamic style, which consist of 4/4 meter usually using Bolero rhythmic patern, and consist of the chromatic scale and use anaugmented interval in the instrumental section. The songs of Chinese style have the going up- passage such as mi-sol-la-do and 2/4 meter usually using Fox-trot rhythm. The songs of Afro-American stylewere composed of the blues scale containing the blue notes and swing or blues rhythm. The songs of Americancountry musical style have an diatonic scale of the major mode.These exotic songs were popular in 1950s because these songs made romantic fantasy and provided entertainments such as exotic scene. Finally exoticism of popular music amused and appealed the Korean people sufered from the Korean 1950년대 한국 대중음악의 이국성 61War and poverty. Key WordsExoticism, Islamic style, Afro-American style, Musical gesture, The Other, Desire of the Identification *
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    A Study on the Acceptance of the Historical novelappeared in the 1950's Historical film

    PARK Yuhee | 2007, (18) | pp.155~189 | number of Cited : 10
    Abstract PDF
    A Study on the Acceptance of the Historical novelappeared in the 1950's Historical film Park, YuheeThis paper is to examine the aceptance aspects of the historical novel apeared in the 1950's historical film and to lok into the formation process of the popular narative convention in the historical film which has effected the recent historical fiction such like novel, film, drama. The historical novel has formed as a popular narative genre from late 1920s till 1930s. The story list, narrative conventions, and storytelling methods of the historical novel were accepted by the 1950s historical film actively. This process were connected to the establishment of the historical film genre convention. Especially 1950s historical films show acompound tendency of melodrama, literary film, action film as well as a fidelity to an original work.These characteristics reveal through the historical film of Sin, sang-ok who is the most representative historical film director in Korea. His 1950s historical films shows a experimental tendency of genre and art. This is very different spot from his 1960s historical film which are strengthened by melodrama convention. In c o n c l u s i o n , t h e a c e p t a n c e o f h i s t o r i c a l n o v e l i s e s e n t i a l to the formation of the historical film convention and has an important meaning 1950년대 역사영화의 역사소설 수용 연구 189in the development of historicalfiction narrative which reign Korean film narrative until now as one of the most powerful narrative formula. Key WordsHistorical novel, Historical film, Historical fiction, Narrative, Story, Storytelling, Convention, Genre, Literary Film, Melodrama월 23
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    Creative Writing on TV Animations for children or family

    Hyun Koo Kang | 2007, (18) | pp.193~227 | number of Cited : 0
    Abstract PDF
    Creative Writing on TV Animations for children or familyKang, Hyun-KoAnimations for children or family have children as their maint a r g e t audience and are produced as TV series and as a result. they have the most industrial and ideological values. Therefore this study has selected and reviewed the best three animations, trying to search creative writing methods related to storytelling or classical imagination. 1. 'Mummies Alive' has the confronting structure of virtue and vice with inserting gods, which leads to an affluent and realistic multi-layered conflicting structure with affirmation, then incompatibility, and next declination, and finally, denial of a negation. It also added the amusement of an intelectual game, using not only the simple conflict of strength but smart wit which decides the success and failure. 2. "Vegetables' shows the possibility of delivering important virtues in life peacefully, amicably and pleasantly, using vegetable imagination. It also shows the possibility of creatingnew and interesting stories without limit through appropriate modifications of existing fairy tales and classics.3. 'Sonic Underground', uniquely as animations for children, deals with the 아동용(가족용) TV 애니메이션 스토리텔링의 경쟁력 227underground world and shows its special vitality full of freedom, frankness and amusement, while escaping from the order and demand of the main stream. In addition, by using the narration structure of searchfor mother separated, it drives an adventure story with a tense atmospherein a generally sad mood.Key Wordsanimations for children, multi-layered conflicting structure, an intellectual game, vegetable imagination, underground world, search for mother separated
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    Play(revitalization), Pause

    Irhe Sohn | 2007, (18) | pp.289~323 | number of Cited : 5
    Abstract PDF
    Play(revitalization), Pause:Female Representation in Narrative Cinema of Colonial KoreaSohn IrheNarratives on women during the colonial period changed itself by the historical situation. Articles in newspapers and magazines which deal with the death of actresses/women shows similarities to shinpa narrative popular to people in 20s. It reveals the narrators' consideration of the modern in colonial Korea as defered while suturing the fatal moment of the death and the exhibitional attributes in attraction of actresses with narrative. In 1930s, this narrative changed into frontal attack to the women in the narrative rather than depresion. Women figure of shinpa had lost its meaning at that time since the so-caled 'modern' semed to be able to be grabed in hands with extending the market in the geography of the Japanese empire. Like Military Train which do not grant any apropriate role to the shinpa women 323women and their narratives along with historical situations, this article focuses on the desire of the modern in the colonial period withnarrative r e p r e s e n t a t i o n o f w o m e n , h a d c h a n g e d i t s f i g u r e b y t i m e b u t r e peated. Though, it also breaks the homogeneous ground of the narrative that the subjects' practice sometimes make the moment of the pause whilei t i s playing.Key Wordsactress, narrative cinema, becoming japanese, the modern, shinpa, Mun Yebong, Military Train, Straits of Chosun, play(revitalization), pause
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    A Study on Adaptation in <A drifting story (Pyolyudo)>

    이길성 | 2007, (18) | pp.353~385 | number of Cited : 2
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    A Study on Adaptation in <A drifting story (Pyolyudo)>Lee, GilsungT h i s e s a y e x a m i n e s t h e a d a p t a t i o n o f < A D r i f t i n g S t o r y > ( K w o n Young-soon, 1960) and the significant points which bring about the changes in the proces of its adaptation. It is sugested that there are two very different points in this film as compared with its original novel. First, a courtrom scene is put in the introductory part. And it is transformed into the long flashback unfolding how the heroine ends up with murder. Second, she is maried to SangHyun but dies of her ilnes in the end. These changes in the proces of adaptation come from adoption of the melodramatic convention at that time. The introduction of the courtroom scene and the following flashback scene are popular in the dramatic composition of the so-caled crime melodrama in the late 50’s. The change of its ending, too, follows the melodramatic convention. Its commercial interests are also considered as the director and adaptor admitted. The film ends with heroin’s death just as love relations between protagonists fall apart in most melodramas concerning with widows. The point of the change shows the adapted characteristics emerging from the melodramatic aspects in those days accompanied with commercial interests. H o w e v e r , o w i n g t o i t s p r e s u r e o f t h e o r i g i n a l n o v e la n d expectation of receiving a prizeat the film festival, the filmis unable to
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