2011, Vol., No.25

Representations of the 'Daldongne [shantytowns]' in TV drama

Ko Seon Hee | 2011, (25) | pp.7~40 | number of Cited : 8

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This is the paper about the representation patterns of 'Daldongne [shantytowns]' in the TV drama and its representation by focusing on the changes, the urban poor in Korea in the industrialization process of the life. Especially it reveals how their lives changed gone, in the process of urban redevelopment projects as the core to the development of Gangnam, Seoul, '70s And '80s, While the reappearance of such historical experiences as a medium to illuminate the role of television drama writing. Since the early 1980s, 'Daldongne [shantytowns]', the urban poor housing space, was emerged in the Korea TV Drama as the main stage of the soap opera. Previously, it was was difficult to explore a television soap opera emerged of the urban poor more than middle-class. Therefore, the highlands in the outskirts of Seoul, the lower class housing, the breakthrough of 'Daldongne [shantytowns]' as a main stage in a daily soap opera was the advent of. TV drama <Daldongne> was enthusiastic response to be obtained as 'a drama give comport to ordinary people, and soothe the sorrow of them. <Daldongne> had been preaching the hope constantly "Live hard, would be better soon". It was met successfully a common desire of Korea and a number of community members in the early 1980s. Their desire was rising hierarchy from Outskirts' shantytowns of the urban underclass to the middle class. However by the end of the '80s, 'Daldongne [shantytowns]' had not anymore be presented as a space for hope. In the urban redevelopment process as the core of Gangnam development, residents were alienated from the shantytowns, and they were driven further impoverished and their lives has become exhausted. The hope "We can live well in the drama like them" will be tightly integrated picture has more than a mirage. TV drama <The Moon of Seoul>, 1994, was representation to the structure of desire to reproduce and changed perception of the residents of these shantytowns. <The Moon of Seoul>(1994) is similar to <Daldongne>(1980) in the sense that made the narrative desire of rising hierarchy and setting in urban slums at the highlands, but it seems significantly different patterns to achieve their desire to choose a way of life. Their own perception for 'Daldongne [shantytowns]' in a community space was changed. Members of the shantytowns in the <The Moon of Seoul> lied to deceive each other and chasing pitched fights before being chased. 'Daldongne [shantytowns]' was not any more like a cozy home. In conclusion, 'Daldongne [shantytowns]' in <Daldongne>(1980) was the space of fantasy which were provided the myth of the rosy hopes for the future, but in <The Moon of Seoul>(1994) it had been changed as the resistance space that cause cracks Fantasy of the industrialization and modernizationin. The changes of representations of 'Daldongne [shantytowns]' in TV drama, tell us ultimately, South Korea's capitalist industrialization has made a lot poverty out and has been isolated them, destroying their lives.

A house, the place of settlement and variation

Hee-jeong Sohn | 2011, (25) | pp.41~69 | number of Cited : 7

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Representations of 'Yang-ok(western-style house)' in Park Wan-Suh’s novels in 1970s

Chung, Hye-kyung | 2011, (25) | pp.71~91 | number of Cited : 21

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Formation and Change of Modern Urban Housing - In Seoul, Korea from 1876 to 1945 -

Ahn, Chang Mo | 2011, (25) | pp.93~125 | number of Cited : 7

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A study on the combination of Classical literature and a comics －focused on the classic elements in the <Shin am haeng eo sa>－

Ko Hoon | 2011, (25) | pp.129~156 | number of Cited : 4

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Old Story As a Genre of Literature

구광본 | 2011, (25) | pp.157~179 | number of Cited : 3

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In certain literary sites, ‘old story’ is often used as a kind of genre vocabulary. First of all, it looks as if an old story is a familiar expression that rendered tales (folk tale oriented tales) of folklore or oral literature in everyday language or an expression that rephrased old-days story in a simple and clear language. There are views that logically separate an old story from old-days story. According to this view, an old story denotes a story in which ‘the story itself is old’, unlike old-days story that denote a ‘story on the old days’. The one that is more appropriate for a genre vocabulary is the former or old story. There are also suggestions that we should take an old story as a literary genre vocabulary to mean ‘tales for the children'. But objections are raised on the ground that tales contain no separate entity that could mean children. Clearly, folk tale is an oral literature that is enjoyed and transmitted by everyone regardless of generational difference. Old story needs to expand its concept into a genre that can encompass pre-modern oral folk tales and modern literary fairy tales, not just as stories that are old themselves. At the same time, it should be an open genre for adults as well, not to preclude a possibility of securing a broad-based audience voluntarily. Old story involves much more than what can be dictated for preservation. It is the original form and genre of myriad stories that can be written, re-written, revised, and newly written after listening to the voice that is mingled with world awareness and wishes of the people of the bygone age and reminding us to write on them, or it is individual works that are still being written. For this reason, I would like to propose ‘old story’ as a genre vocabulary for a concept that can indicate oral folk tale and all the narrative literature that inherited their properties and values modernistically, both within Korea and abroad, either as individually or in its entirety depending on particular circumstances of literary sites.

The Ethics of the others and the sympathy of Novels

Suk Ja Park | 2011, (25) | pp.181~203 | number of Cited : 13

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Narrative Strategy and Popular Culture Contents - Focusing on TV Audition Program ‘SuperStar K2’ and ‘The Great Birth’ -

송명진 | 2011, (25) | pp.205~228 | number of Cited : 16

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A study on the romantic representation of the marriage of Lee-Eun(李垠) and Nashimotomiya-Masako(梨本宮方子)

Lee, Young-ah | 2011, (25) | pp.229~258 | number of Cited : 1

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Betrachtung über die Entwicklung der Theaterkultur Nordkoreas in den 70er Jahren

Lee,Tschun-Kil | 2011, (25) | pp.259~282 | number of Cited : 2

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The Soundscape of Nation and the Imaginative Power of Red Noise － For the study of the literature history of the sound in the 1960s (1)

Lim Taehun | 2011, (25) | pp.283~311 | number of Cited : 13

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The era between 1961 and 1968 in Korea was not only a period of political turbulence with The May Coup, the twists and turns on the Korean-Japanese Conference, and two sessions of Presidential Elections, but also was a period of unique role for change of media environment. In this period, radio broadcasts were provided nationwide for nationals beyond the limit of Seoul local influence formed during Japanese rule, and unlike in other countries, the establishment of radio broadcast scope exceeded the supply of radio devices nationwide. Such was an outcome of the amplifiers installing project executed as one of top priority projects of press policy immediately after the May Coup, and of course a plan for active utilization of radio broadcast as tool for propaganda. The government facilitated so that even the aged in remote villages can frequently hear how 'well' the regime is doing anything now. This project came to a standstill after 1968 when the initiative of media environment is passed on to television. By this period, radio was stabilized as a holistic media for nationals that any household in the nation kept at least one unit of it, but after all came to be left behind in prevalence due to the typical limitation of frequencies. The radio broadcast got on it track back to the experience of private sound from group hearing. In the meantime, even until mid-1970s, the broadcasting capacity of South Korea fell behind that of the North counterpart, and thus radio transgression was a usual occasion not surprising at all. The days when the North Korean broadcasts toward the South which was so-called the 'Red Noise' could be heard in quite clear quality was the 1960s. Listening to the 'Red Noise' was an act in violation of the Anticommunist Law. However, such North Korean broadcast was a covert media that enabled the people secluded in the part of the Korean peninsula ruled by the Park Chung-Hee to imagine the other side of the Republic of Korea. The 'Red Noise' could be better heard during the night of curfew and was ever elevated to an experience that cannot be confessed rashly. The nights of the 1960s were just ironical. The nights were under curfew rather outspokenly by the soundscape of the government that instructed the nationals under the excuse of synchronization of physical rhythm. In the midst of all that, the 'Red Noise' that outreaches the truce line without getting any restriction across the atmosphere of silence raised vortices in the time by stirring up rebellious ideas to those who felt suffocating about the 'government' of Park Chung-Hee. This paper will examine the three soundscapes that resisted the time(1961-1968): the soundscape of the government which is reflected through amplifiers village construction project, propaganda and 'curfew'; the 'Red Noise' that stirs up cracks of the soundscape of the government; and lastly the sonic warfare of those that do not harmonize with the 'sound' of the government and modernity. The group of people surrounded by the three soundscapes were placed and raised in the seat of natinoals, but also they were set apart among themselves. This is specifically a query for the following questions: In Choi In-Hun's novels 「The Sound of President」(1969) and「The Sound of Governor-General」(1967~1968), why the listener of the pirate broadcast of the underground department of the Japanese Government General of Korea and the provisional government of Korea in Shanghai was set as 'poet' among others? Kim Su-Young put down the moments that he listened to the clear stereo sound of the North Korean broadcast toward the South in 「Radio Worl d」(1967). What imagination was it that the poet get from the transgressing 'Red Radio'in the South Korean society which was under the regime of Park Chung-Hee that maintained high anti-communism? And why was Shin Dong-Yeop so desirous of loading his own voice in the radio by becoming a disc jockey? This study intends to begin the first work for the study of the literature history of the 1960s sound through the process of searching for the answer to these questions.

The Beginning of A Television Drama <Sign> and performativity

주현식 | 2011, (25) | pp.313~341 | number of Cited : 6

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This paper's aim is to analyse how a television drama <Sign>'s narrative interacts with viewers, paying attention to its three formal beginning strategies, that is, the first episode's beginning, each episode's beginning, and the sequel's beginning. In other words, focusing on beginning's narrative function, this paper's theme is to define the various interactions between <Sign>'s fictional world as narrative performance and viewers. First of all, <Sign>'s formal beginning strategies are divided into three discourse's beginnings, namely, the first episode's beginning as the first discourse's beginning, each episode's beginning as the second discourse's beginning, and the sequel's beginning as the third discourse's beginning. If the first discourse starts biological bodies' dissection with forensic gaze, the second discourse starts social bodies' dissection with panopticon's gaze by expanding clinical gaze into society. Through these gazes' cultural - political effects,viewers can penetrate biological bodies and social bodies. Therefore, they accept gazes'controlling power voyeuristically and absorb 'forensic drama' genre's features. But viewers don't only make efforts to identify with <Sign>'s fictional world, because it has a dramatic tension which forensic gaze and panopticon's gaze can not regulate. That is, dead body,crime, and criminal, which are an object of forensic gaze and panopticon's gaze, are also an object of abjection's gaze. This abjection's gaze disturbs a social accepted truth, symbolic values' meaning associated with conventional morality. The third discourse's beginning foregrounds this abjection's gaze strongly than the other beginning, for it leads viewers from real world to fictional world. Accordingly, the third discourse's beginning strategy induces viewers to enter into <Sign>'s dramatic world with a binocular ambivalent perspective between forensic - panopticon's gaze and abjection's gaze. Speaking figuratively,this dissects viewer's gaze. To sum up, from the first discourse's beginning to the third course's beginning, the various <Sign>'s beginning strategies show multilayered performative aspects in relation to interactive cooperation, competition between a drama text and viewers.

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Journal of Popular Narrative 2023 KCI Impact Factor : 0.85

2011, Vol., No.25