2015, Vol., No.48

A study on the origin and the historical development of 'middle drama' in the 1930's

kim nam-seok | 2015, (48) | pp.14~47 | number of Cited : 6

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SP Records Drama - ‘Media Theater’ of the Popular Drama, Narrative, and Culture

Woo Sujin | 2015, (48) | pp.48~89 | number of Cited : 5

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Mobilized media, Mandam performing group and Mandam tellers on the war basis

Seonae Bae | 2015, (48) | pp.90~122 | number of Cited : 6

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Study on the Theatrical Censorship of North Korea during the Korean War through Panel Discussion of Journal『Chosunmunhak』

Jun Jeenee | 2015, (48) | pp.123~156 | number of Cited : 2

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This thesis aims to examine the ways of criticism in North Korean literature and the post-censorship system for the North Korean theater called ‘Happyunghoi(合評會)’ during the Korean War in an effort to shed light on the relationship of the methods of criticism and censorship to the flow of contemporary North Korean dramatic literature. In this study, the North Korean censorship system and texts of theaters in the period of the Korean War were researched to supplement the history of research on wartime dramas and North Korean theaters. Happyunghoi that appeared in a journal titled 『Chosunmunhak(朝鮮文學)』 after the liberation of the nation was a way of literary censorship that was in the form of a discussion meeting. The creators of literary works were asked to attend the meeting, and the ultimate goal of it was to further their self-criticism. This meeting took place more actively in the area of theater owing to vigorous mutual criticism and self-criticism among the participants, and it was considered especially important in this field in which there wasn't yet a lot of criticism. It should be noted here that what was suggested by different participants in the meeting was sometimes conflicting though the ultimate goal of it was to stir up the self-criticism of writers, and another noteworthy fact was that sometimes their suggestions weren't in line with Kim Il-sung's doctrine about wartime literature. Happyunghoi was definitely a coercive meeting and part of a cruel criticism project in that the creators of literary works had to attend it and to generally follow the advices of other participants. In fact, however, there were problems that might be controversial enough yet couldn't smoothly be resolved to reach a particular conclusion, and controversial issues still took place even after the war repeatedly. Specifically, some demanded that the reality of the war be realistically described but the story line be intriguing enough, or that conflicting situations be clearly be described but not concretely, which couldn't be realized at the same time. The demands of various participants couldn't all be satisfied in a single text, and the contradictory requests sometimes resulted in undermining the consistency of the text. The North Korean dramas during the war showed the way that the North Korean government controlled the arts and literature, and they also showed that it's impossible to edify contemporary people and to propagate the thought of the North at the same time.

Theaters During the War Period, Media of Propaganda and Empathy - Focusing on Performances in North Korea during the Korean War -

MyungMun - Chung | 2015, (48) | pp.157~193 | number of Cited : 6

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The Meaning of the Realism Theater View Presented in the Latter Play of Cha Beom Seok - Centered on <Waltz a trois>, <Misjudgement>, <Anne Frank's Rose> -

김경남 | 2015, (48) | pp.194~239 | number of Cited : 1

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The current dissertation purports to investigate the meaning in the formal characteristic of Cha BeomSeok's latter plays through <Waltz a trois>, <Misjudgement>, <Anne Frank's Rose> which were based on real events. Until the 60s, Cha BeomSeok has written realism plays based on the fourth wall. But after the 70s, he has created many works based on real characters or events, where as in the case of these works shows an aspect of using epic theater techniques. But since the use of such method does not coincide with the epic theater's purpose, it is not appropriate to classify Cha BeomSeok's latter works as an epic theater. Because the method of using a screen or a commentator or freely moving through space time rather enables understanding the character's situation and affects more favorably in accordance to the inner side of the character. Such characteristic is also assessed as Cha BeomSeok's lack of understanding of the epic theater. But this is a result of his honest distress about the nature of theater in "depicting the reality". Cha BeomSeok self evaluates himself as a realist, whereas the concept of "realism" here is not a problem of "formality" but a problem of "content", hence there was no meaning in maintaining the formal custom of the realistic theater. The reason why Cha BeomSeok utilized the epic theater method was because he sought for the most appropriate method in reproducing a real event in order to complete a realism theater. Therefore, the attitude of classifying a play with only a formal characteristic without considering Cha BeomSeok's deep understanding of theater view must be sublated and only the formal destruction of the realistic play created in the latter stages must be noticed. Also one must be cautious in concluding that such aspect is the overall phenomenon displayed in Cha BeomSeok's latter plays.

Invented Grief and the Solidarity of Sensibility - A Study on the Variations of the Original Novel and the Fandom of Musical Frankenstein(2014) -

Seungyoun Choi | 2015, (48) | pp.240~284 | number of Cited : 3

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The starting point of this article is to ask why Frankenstein has been successfully performed on the Korean stage as an original Korean musical in 2014. Frankenstein can be analyzed as a critical text because of these following reasons; firstly, Frankenstein is the newly produced text of popular culture which dealt the original novel by Mary Shelly with not the perspective of stereotyped B-list imagination but more like the perspective of Mary Shelly, secondly, Frankenstein was the successful large-sized original Korean musical which eliminated the discourse of tradition and lastly, Frankenstein fully reinforced “sad fantasy” on the context of mystery-thriller musical which has been featured the “sad and lonely monster” as a leading character. To complete the purpose, this article sheds light on the variations into musical through three key words, that is “Creation of the monster”, “the Body of the monster”, and “the Recognition of monstrosity.” As a consequence, one unique directivity was sensed. The variations focused on the effectiveness of sentimentalized text practically using the grief and irony. However, this methodology caused the lack of probability in the narrative of musical and it can be said as a weak point of musical Frankenstein. The interesting point is that it was the variation method that was influential rather than the weak point in the actual fandom’s enjoyment sphere. This can be clearly observed in the reactions of the production team members of Frankenstein memory book, who led the fandom of Frankenstein. As they sympathized the “sad” stories of the characters as well as connected the stories to their own lives, Frankenstein got a significance not through the artistic alienation but through the individual recreation. This aspect of the fandom’s enjoyment brought about the production of consumer’s derivative works; on one hand, the exclusive distribution of the memory book just within the fandom’s community and on the other hand, the intensive distribution of the animation by posting on the youtube site. These all works should be called a kind of participatory culture in the local Korean musical industry.

Desire of Korean Film Industry in 1980s and Birth of ‘National Film Director’ Im Kwontaek

Arum Song | 2015, (48) | pp.285~319 | number of Cited : 6

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Im Kwontaek is considered the mainstay and godfather of Korean film. The time he has been through, from 1962 when he started filming till 2015 when he produced his 102nd film, itself, has become a history of film. However, he could be evaluated like this actually after he went through the 1980s, and this study will look into the process of creating a myth of Im Kwontaek through the desire of the Korean film industry at this time. Im Kwontaek began to win fame as his Mandala, released in 1981 entered an international film festival. While efforts to let the international communities know the growth of South Korea and show it off were made from various angles, Im Kwontaek began to occupy a significant place in international film festivals, promoting South Korea. As a series of noises made during this process confirmed that Im Kwontaek’s films were not just demonstrative ones, it brought new awareness to film art. Furthermore, Im Kwontaek made his films separate into two-films for commercial purposes and for his own satisfaction and gave different meaning to each one. As it met the desire of the critics, who criticized the system of Korean cinema, it led the active movement of critics. Having produced various films for a long time, Im Kwontaek could not match up to an auteur in a theoretical meaning, but his set of attitudes towards the establishment of the mainstay of the Korean film and describing its artistic accomplishments converts him to an auteur in the desire of attempting to put him on the same line as European film makers. Meanwhile, Im Kwontaek himself has learned the look of a national cinema that international film festivals want and formed the images of Korea through Self-Orientalism and objectified women’s bodies. Although it cannot be denied that Im Kwontaek is a living witness and history of the Korean film industry since the Independence, it can be said that the weight added to his present reputation has been slowly formed through the image of a film director desired by the Korean film industry.

A Study on Semantic Duplicity of Feature Animation <Hong Gildong>

윤지혜 | 2015, (48) | pp.320~345 | number of Cited : 1

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Between Field and Critic/ism from the 100℃

Yi, Jooyoung | 2015, (48) | pp.349~357 | number of Cited : 0

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The Things that art scholars must do to make new art movement significant

Kiran Kim | 2015, (48) | pp.358~368 | number of Cited : 1

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The Journal of Korean drama and theatre 2023 KCI Impact Factor : 0.77

2015, Vol., No.48