2017, Vol.23, No.1

Song Chi Hyuk | 2017, 23(1) | pp.9~32 | number of Cited : 16

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The territory of “drama” has broadened since the creation of web services. Television dramas have also attempted to shift to the form used by web dramas, as many other styles of art have done. The purpose of this article is to explain how web services have tried to corner the drama market based on the strength and size of their user base. The purpose of Korean web dramas is to deliver new kinds of entertainment to people while dealing with themes that have not been considered before and making use of the conventional features of traditional TV dramas. It is important to consider the relationship with viewers and the media hierarchy, but it is apparent that the discussion can be oversimplified if web dramas are simply regarded as an extension of TV dramas. This is why it is important to look at how dramas are constantly changing and expanding, while “dramas” are also being mixed with other new media. While a new phenomenon is being created in the clashing between the producers’ intentions and the users’ desires, the status of the changing modern media field is not controlled by the complex systems in place. “drama” as an art form seems to be expanding by itself, constantly floating the complex web. The web drama <DramaWorld> shows us how the circumstances of TV dramas have changed and become quite different to the way they are perceived by conventional media when they are produced through the web. This aspect is clearly highlighted in web contents involving games. It can be assumed that web contents in the style of “drama” are made and consumed in an attempt to shift away from the conventional style of TV dramas. In this regard, dramas expanding onto the web can be a meaningful reference point that provides insight into how to imagine and explore the role of modern society and the individual in it.

Study on Korean Webtoon Research- Focusing on the Hunanities and Social Area

AHN, Sang-Won | 2017, 23(1) | pp.34~63 | number of Cited : 6

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A Study on the Narrative Form of Korean Web Novels

Choi Bae Eun | 2017, 23(1) | pp.66~97 | number of Cited : 35

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This study considered the creation, distribution and consumption system of Web Novels and their narrative form on major websites, investigating the effects that Internet media and mobile devices have had on novels. Web Novels are based on existing ‘Internet Novels’ and genre novels. However, thanks to the creation, distribution, and consumption of Web Novels in the systematic web platform market, the class of authors and readers of Web Novels has been expanding. Thus, Web Novels have undergone a variety of transformations and become an changeable branch of fiction. When the simultaneity and immediacy of creation, mediation, and acceptance - which are characteristics of Web Novels - lead to competition and a blatant market focus, Web Novels come to be valued as goods rather than literary works. Accordingly, considering interest and readability(legibility) as the first priority, on the one hand, the narration of Web Novels follows the custom of genre novels, while on the other hand, such novels take a form that is suitable for mobile devices. The plot depends on the interest and tension of each episode rather than close correlation, and the paragraph structure is destroyed. Characters are portrayed via audio-visual imagery, usually by making use of icons, illustrations, and dialogue scenes. The description of time and space is often left out, and the event is narrated by a character - focalizer, with a concentration on characters’ actions. In this way, Web Novels are destroying the value and form of traditional novels. The utility of novels is moving toward consumer goods of interest and pleasure from the media of reflection and enlightenment. In addition, Web Novels are valued in terms of emotion above perception. Thus, the form of Web Novels has been transformed to combine various contents, thereby shifting away from the traditional aesthetics of narration, which supports a well-organized structure and seeks to deepen and maximize the language function.

The Embodiment of the Youth in the Kim Jong-Un Era and the Political Implications of North Korea’s Chosun Central Television- Centering on North Korea's Chosun Central TV since Kim Jong-un seized Power in North Korea

Kang MinJung | 2017, 23(1) | pp.101~137 | number of Cited : 3

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The youth-focused policy of Kim Jong-Un’s government is distinctive, as it is publicized and emphasized more actively than that of the previous Kim Jong-Un government. This government is publicizing youth-focused theory and policy extensively through the media and frequently propagating political performances that reflect it. On Chosun Central TV, which is North Korea’s public media, propagation broadcasts are employed for the active reflection of “youth-focused thought,” and coverage on youth policy has recently increased. In addition, the form of “youth” that was recently idealized by the Kim Jong-Un government is repeatedly evident in the broadcasted contents. This thesis focused on the idealized youth model and its political implications in relation to contents broadcasted by the Kim Jong-Un government, which can be seen as a general narrative trend in Chosun Central TV programs broadcasted after Kim Jong-Un seized power in North Korea. Therefore, the Kim Jong-Un government is aware of the subject youth and shows a tendency to try to change the narrative form along these lines. From the perspective of contents, the young generation is represented on the surface of the narration by modern images through the symbols of scientific technology, apartments, cultural facilities, however, the deep layer of narration plainly shows a political intention to embrace the desire unconditionally as a public ethics despite the appearance of private desire.In other words, the subject youth tends to be surrounded in the narration of the Kim Jong-Un era. Therefore, the Kim Jong-Un government extensively represents the young generation as social subjects through the media according to the youth-focusing policy, but young people themselves do not become authentic subjects through this narration. This represents a problem for representation. Discussing the phenomenon whereby the ideal youth model recently set up by the Kim Jong-Un government is repeatedly represented on TV media through narration, this thesis considers that this phenomenon disproves the view current political compulsion toward private desire germinated in the young North Korean generation by the Kim Jong-un government should be embraced by public ethics. It can be argued that the real conditions of the young generation are different, reflecting worries about their change in identify under the Kim Jong-Un regime. In other words, it implies that the Kim Jong-Un government is using changes in the young generation as the appearance of private desire originating from indications of social class differentiation, and with the generational model the government wants to delay the social change as much as possible. So, the calling for youth as a social subject on TV media in North Korea is just a surface phenomenon. However, it is necessary to pay attention to the start of this social shift. This year, an exceptional film from North Korea depicting a young man who realizes his individual dreams and ideals by transcending the fate determined by the communist party was released on TV and mass media. This can be seen as an expression of concern about how Kim Jong-Un’s government should include the desires of the young generation in particular.

A Study on The 'Mysterious 33rd Door' Concerning a Strategy for Securing Popularity

Ko Hoon | 2017, 23(1) | pp.139~163 | number of Cited : 1

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Spatial Analysis of the Movie Doubt

Kim, Joong-Chul | 2017, 23(1) | pp.165~195 | number of Cited : 5

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Crossing the World of Chained Disasters: Cases of Apocalyptic Post-Modern Representation

Jeeheng Lee | 2017, 23(1) | pp.197~219 | number of Cited : 2

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Genealogy 1980-90's Korean Independent Film- Contact to Specter-others

Chon Woohyung | 2017, 23(1) | pp.221~247 | number of Cited : 1

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This paper examines the 198090s revolution of the Korean independent film is embedded in the movement from the film to the film Contact. respond to the possibility that the connection the films is continuous solidarity of the 1980s. Chang, Yun-Hyun’s idea of reading the possibility of the 1980s in PC communication was combined with Myung-Film’s planning. This made the film Contact. By delaying the encounter between the lovers, bravely broke the traditional narrative. , it showed the first production model by paying a fair fee for film music. It also posed the aesthetics of Asian film upfront instead of the spectacles Hollywood films, provocatively attempting to redistribute aesthetic of Asian . In the process of the Korea filmin other words, in the process of South Korean movies becoming independent from capital and powerand the aesthetics, were forced to re-encounter the wandering ghosts of others. efining the ghosts and illuminating the new relationship with reveal the particularities of Korean. ’, which a new connection with the other was obviously an important force in the growth of independent film. The capital provided the audience director from the independent film scene. However, capital specter entangled oppression of the past and aspirations the future. In the sense that, and above all because it on the border free from responsibility, it close to the specter-others. The basis of possibility Contact 1990s independent film be found in two opposite vectors. One is new relation with capital, the other is representation of new social movement. these two factors have been commonly cited as proof that cultural movement and new social movement liberalized since 1990s. However the planning process in Contact was different. Shim, Jae-Myung and Shim, Bo-Kyung also mediated the rationality of capital and refreshed the old agenda in 1980s. Through Contact, they tried to experiment the possibility of commercial film as a method of new social movement by inventing necessary for sustainable society.

Features of domestic science fiction in the 1960~1970's- concentrated on Science for Students

Choi Ae-soon | 2017, 23(1) | pp.249~291 | number of Cited : 6

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What Is "Cinematic Style" in Japanese Comics?- Miwa Kentaro’s Theory of Panels and Time

Kim Sowon | 2017, 23(1) | pp.295~324 | number of Cited : 1

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Journal of Popular Narrative 2023 KCI Impact Factor : 0.85

2017, Vol.23, No.1