韓國 映畵에 대한 消費者 태도 硏究

이순열 檀國大學校 經營大學院 1995 국내석사

오늘날의 영화는 대중적, 종합적 예술뿐만 아니라 문화적 상품으로 국가의 중요한 전략사업이라 할 수 있다. 그러나 현재 우리나라 영화 산업의 현실은 결코 만족스럽지 못한 입장에 위치해 있다 할 수 있다. 따라서 본 논문은 한국 영화 산업이 발전하기 위한 문제점을 파악하고, 진단하고자 우리나라 영화시장의 주요 관람객을 차지하고 있으며 영화에 대한 문제성을 인식하고 자신의 의사를 자유롭게 표현하는 20대 층을 대상으로 한국 영화에 대한 소비자 태도를 실증 분석하였다. 실증분석을 위하여 250부의 설문지를 직접 면접을 통해 조사하였으며 이중 이용 가능한 214부의 설문지를 SPSS PC^(+) 통계 팩키지를 이용하여 신뢰도 분석, 요인분석, 빈도분석, 그리고 교차분석을 통해 통계적으로 분석하였다. 본 연구의 주요한 결과를 요약하면 다음과 같다. 첫째, 1년간 한국 영화 관람 횟수는 2회 이내가 대부분을 차지하고 있으나 한국영화에 대해 감명이나 공감을 받은 경험이 많은 것으로 분석되었다. 둘째, 한국 영화의 선택기준에 있어서 감독과 배우의 비중이 많은 부분을 차지하고 있는 것으로 분석되었다. 셋째, 한국 영화에 대하여 보통 이상의 관심을 가지고 있지만 한국영화에 대한 선입감은 기대이하로 분석되었다. 넷째, 한국 영화 홍보의 효과성이 비효과적인 것으로 분석되었다. 다섯째, 한국 영화 대한 사전심의 정도가 규제적인 것으로 분석되었다. 여섯째, 외국영화 수입개방은 다른 부분보다도 사회적, 문화적 측면에 많은 영향을 미칠 것이라고 분석되었다. 일곱째, 앞으로 제작되어지길 바라는 한국 영화 정치적, 사회적 소재를 가진 영화가 높은 비중을 차지하는 것으로 분석되었다. 끝으로 연령에 따른 한국 영화와의 관계를 보면 다음과 같다. -. 한국 영화에 대한 관심은 연령에 관계없이 기대이상의 관심을 보이고 있다. -. 스크린쿼터제도에 관해서는 연령에 관계없이 현재 수준 유지가 높은 비율을 나타냈지만 29세∼30대 남성은 확대하자는 비율이, 20세∼22세 여성은 축소하자는 비율이 다소 높게 분석되었다. -. 한국영화발전을 위해 개선되어야 할 부분으로는 20세∼22세 여성과 25세∼26세 남성이 뚜렷한 주제의식을 부각해야 한다고 분석되었고 그 외에는 전문성(기술성) 측면이 개선되어야 한다고 분석되었다. -. 한국영화지원정책에 대해서는 연령에 관계없이 보통 이하의 비효과적이라고 분석되었다. Nowadays the movies are not the popular & synthetic art, but also the important strategic business of the nation as cultural goods. But the state of our nation's movie industry is not at all in the satisfactory situation Therefore to recognize and analyze the problems for Korean movie industry, this thesis analyzed the consumer's attitude to Korean movies through 20s who consist of most of movie-goers, conceive the problems of movies and feel free to speak out their own opinions. For an actual proof, 250 questionnaire of survey sheet were analyzed by person-to-person interview, and 214 pieces available among them were analyzed statistically analyze through Reliability analysis, Factor Analysis, Frequency Analysis, and Cross-Tabulation Analysis, utilizing SPSS PC^(+) statistics package. The main ideas of this study go as followings. First, in spite of the fact that they almost go to movies less than twice a year, it is said that they had many experiences that they were moved and impressed much by the Korean movies. Second, they choose the movies by the standard of who are directors and actors. Third, they hard interests more than usual in the Korean movies, but their preoccupation about them are analyzed to be less than expected. Fourth, it is said that the effectiveness of the Korean movies' PR is infective. Fifth, it is observed that the pre-review of Korean movies is regulatory. Sixth, they say the opening of foreign movie importation will have move effect on social & cultural aspects than any other. Seventh, most of them hope that Korean movies will be dealt with by political and social materials, in a great proportion. finally, the reaction between Korean movies and ages is as following. -They are more interests than expected in the Korean movies, regardless of ages. -About the screen-quota system, it says that apart form ages, a great proportion hope the present standard will keep going, but the preportion was great that males of 29-30 want to enlarge it, and females of 20-22 want to diminish it. -It says thath to develop the Korean movies females of 20-22 and male of 25-26 insist on reveal the distinctive main idea and others say the special aspects(technological) should be improved. -According to the survey, they say the policy of Korean movie support is ineffective less than ordinary regardless of ages.

영화 82년생 김지영을 활용한 한국어 쓰기 교육방안연구 : 중국인 고급 학습자를 대상으로

엄어 전북대학교 대학원 2024 국내석사

The purpose of this study is to present an effective Korean writing education plan to improve the writing ability of Chinese Korean learners using movies. Modern Korean language education is divided into reading, writing, listening, and speaking education, while speaking and writing are Korean expression education and reading and listening are Korean understanding education. The purpose of Korean language learners learning Korean is very diverse, and the goals of Korean language education are also diverse. Foreigners who learn Korean may have various purposes of learning Korean, but the final goal is smooth communication skills. However, for smooth communication, reading, writing, listening, and speaking skills must all be developed. Writing education is said to be the most difficult education in Korean language education. In the Introduction to Korean Educational Studies as a Foreign Language, he pointed out that writing is not simply expressed by letters, but that writing is related to unique rhetorical rules and has different characteristics from speaking through the permanence of writing and distance from readers. In addition, writing is a process that requires thought, design, and special skills, and it is said that these skills are not naturally born skills but are developed with acquired efforts. Therefore, teachers emphasized that students should be well aware of what skills and abilities are required to write well and guide them to develop these skills. Analyzing the Korean Language Proficiency Test (TOPIK) data released on the official website of a representative Korean language academy in China, it can be confirmed that Chinese Korean learners generally lack the ability to write Korean compared to reading and listening to Korean. Kang Joo-young (2021) said that for practical communication, it is necessary to educate not only linguistic knowledge such as grammar and vocabulary, but also cultural knowledge for understanding the context and circumstances of the society. Physically expressed forces such as military power and economic power are called hard power, and voluntary popular culture, including human rational and emotional abilities such as academics and arts, is called soft power. It is said that Korean learners can feel the charm of Korean and develop positive interests due to the soft power culture. Therefore, it is easy to confirm that visual materials such as Korean dramas, Korean movies, and Korean plays can be effective educational tools in Korean language education. In addition, in Yoon Eun-i, Woo In-hye, and Song Dae-heon (2020), visual works such as dramas are positive because proverbial culture and Korean expressions are easy to understand the meaning of Korean language education and can learn the nuances of speech through this. Movies play an important role that cannot be ignored in Korean language education. It not only stimulates the learner's curiosity through attractive stories and various characters, but also increases the learning motivation to make the learning process a more interesting and enjoyable experience. Movies that are more effective than general textbooks increase learners' concentration by providing a combination of rich audio dialogue and visual scenes. This helps students to immerse themselves more easily and learn the language naturally through a vivid screen and realistic context. Drama and film are Korean cultural treasures in common, and the two art forms have equal value in terms of visuals. In particular, movies, like dramas, provide educational values and various functions in Korean language education. In addition, movies play a big role in stimulating learners' curiosity through interesting stories and various characters. It can increase learning motivation and increase interest and enjoyment in the learning process. Since movies are delivered to viewers by combining voice lines and visual scenes, using them as texts for Korean language education has a more active effect on learners' concentration than general textbook texts. Movies have superior advantages over dramas in language and culture learning, mainly because they can deliver a complete story in a relatively short time with a reasonable length and a complete plot, allowing learners to get the full appearance at once. A film that condenses abundant cultural backgrounds, customs, and social phenomena is an ideal medium for a quick understanding of the target culture. The language in the film is close to everyday life, and the conversation takes place in specific situations, making it easier to understand and remember. Through visual effects, scene setting, background music, and sound effects, movies can help learners understand the context better and stimulate emotional empathy to make language learning deeper. Film resources are easier to access and manage and can be repeatedly learned by watching language and cultural elements multiple times. Films range from comedy to tragedy, and cover a wide range of cultural aspects and social topics, from historical films to science fiction films, so that learners can understand the target culture from various angles. Due to these characteristics, films can help improve learners' understanding and expression skills by providing efficient, comprehensive, and interesting methods in language and culture learning. Therefore, in this study, movies among cultural works will be used to suggest educational plans for writing Korean for advanced Chinese Korean learners. As mentioned earlier, visual materials such as movies can be very suitable textbooks for improving communication skills. Movies are more lively and can be more easily understood by Chinese learners than difficult modern novels. In addition, in cultural works such as movies, learners can understand Korea beyond the scope of textbooks, including modern Korean work culture, school culture, and life culture. Classes using movies also have the advantage of further stimulating interest and interest in Korean to Chinese learners. The reasons for selecting the movie "Kim Ji-young, Born in 1982" in this study are as follows. First, as mentioned earlier, Korean working life, school life, and daily life are inherent in the movie. In this way, Chinese learners can develop not only writing skills but also communication skills. Second, the film reached 138,970 on the day of its release in 2019, receiving the Best New Director and Best Supporting Actress awards at the 25th Chunsa Film Festival in 2020, and the Best Young Actor Award and the Best Supporting Actress Award at the 40th Korean Film Critics' Meeting in the same year. The following year, it received the Popular Star Award at the 41st Blue Dragon Film Awards in 2021. With so many awards, <!-- Not Allowed Tag Filtered --><Kim Ji-young, born in 1982> This film can be seen as popular. This work deals with social problems such as women's work life and unequal treatment at work, which can naturally induce learners to think or appreciate themselves. This will help foster social consciousness and debate skills as well as writing skills. Finally, choosing a movie as the main material for the class provides a more impressive experience by introducing more lively characters to learners. Through this, learners recall various scenes and plots of the movie and recall vivid sensations when writing. This will help organize and express thoughts when writing, especially in improving Korean writing skills. It is believed that these teaching methods will have a positive effect on learners' reinforcement of creative and sensual writing skills. Therefore, this study intends to examine the effect of using the movie Kim Ji-young, born in 1982, to develop a Korean writing education plan for Chinese advanced Korean learners and present a teaching model using movies in the classroom

21세기 한국영화의 중국인 이미지 연구

정전휘 연세대학교 대학원 2019 국내박사

In the late 20th century Korean movie experienced rapid development and finally got into its Golden Age. Since Korean-Chinese diplomatic relationship departed, their cultural interchange became important. Therefore, the Chinese image became one of the most frequently visible alien's image. Since 21st century the Chinese image in Korean movie shows different characteristics in various categories of movies. This study's subject is the Korean movies showing the Chinese image presented since 21st century. It is supposed to analyze the Chinese image in movies by the study tool, the comparative-literary imaging. Furthermore, the structural analysis of the image creation of the Chinese is being tried based on the theoretical combination of literature, filmologie, cultural anthropology, esthetics, sociology and historical studies. Contemporary imaging study's main content is the analysis and the definition of the alien's image. The image discussed in comtemporary imaging is derived from the self-consciousness formed in the relationship between ego, alien, homeland and foreign country. Therefore, it is often said that the study about the truth between reality and creation mentioned on the traditional imaging. According to the contemporary imaging, the Chinese image revealed in Korean movies is a part of artistic creation and it cannot be studied how it is different from the reality. This study is focused on the Chinese' image shown in Korean movies, why and how it influences the cultural interchange with China thus. This study's body is composed of three big parts as following: Firstly, the analysis on the description of the Chinese image characteristics. The alien's image in contemporary imaging is 'mania type', 'phobia type' and 'philia type'. This study's analysis shows that mainly 'phobia type' and 'philia type' often appear as the Chinese image in Korean movies. To be concrete, 'phobia type' mainly shows up in historical or urban criminal movies and 'philia type' appears in Japanese colonial or urban melodramatic movies. Secondly, the analytical study is tried on the reason why this image is created. To be more specific, there is discussion about the stereotype and its continuity visible in Korean history and also in the change of the times and the movie market's globalization. The phobia type's Chinese image can be understood on the continuity of Korean historical stereotype based on the imaginary mainland China and the image of Korean-Chinese. Philia type is understood as the demolition of this stereotype. Thirdly, the influence on the cultural interchange between Korea and China by the Chinese image shown in Korean movie and the Chinese image in phobia type and in philia type is analyzed. Its positive and negative effects on the Korean-Chinese cultural interchange is consecutively analyzed in detail. The description about the alien's image is interactive on cultural interchange between countries. The analysis on the alien's image in movie offers useful reference to properly understand the current state of the cultural interchange. Therefore, the study of the alien's image in movie carries not only academic meaning but also social importance. 20세기 말 한국 영화는 급속도로 발전을 거듭해왔으며 동시에 황금기에 접어들었다. 한·중 수교 이후 문화교류는 점점 더 긴밀해졌으며 이에 따라 한국영화에서 중국적 요소가 점차 빈번하게 등장하게 되었다. 이에 중국인의 이미지는 한국영화에서 가장 자주 등장하는 타자 이미지 중 하나가 되었다. 21세기 이후 한국영화 속에서 나타나는 중국의 이미지는 서로 다른 유형의 영화에서 각기 다른 특징을 드러내고 있다. 본 연구는 21세기 이후 발표된 한국영화 속에서 재현되고 있는 중국인 이미지를 연구대상으로 삼고 있다. 또한 영화 속 중국인의 이미지를 비교문학의 이미지학의 연구방법을 사용하여 분석한다. 또한 이를 문학, 영화학, 문화인류학, 미학, 사회학, 역사학 등의 이론과 결부시켜 중국인의 이미지 형성에 대한 체계적인 분석을 시도한다. 현대 이미지학 연구의 주요내용은 타자 이미지에 대한 분석과 정의이다. 현대 이미지학에서 논의되고 있는 이미지는 자아와 타자, 본토와 타국의 관계 속에서 형성된 자아의식 속에서 유래된 것이다. 따라서 현대 이미지학 연구에서 전통적 이미지학에서 논의하는 현실과 형상 사이의 真伪 여부에 대한 연구는 필요치 않다고 주장한다. 현대 이미지학의 연구의 방법에 의거, 한국 영화 속에서 드러나는 중국인의 이미지는 모두 예술 창작의 한 부분으로 파악되며 이것이 현실과의 일치 여부는 연구 대상이 될 수 없다. 그러므로 본고의 연구 중점은 한국영화 속에서 드러나고 있는 중국인의 형상과 그 원인 그리고 이러한 것들이 중국과의 문화교류에 있어서 어떠한 영향을 미치고 있는지를 밝히고 있다. 이에 본문은 크게 세 부분으로 나뉘는데 첫째 중국인을 묘사하고 있는 이미지적 특징에 대한 분석이다. 현대 이미지학에서 이국 이미지에 대한 태도는 ‘mania’형, ‘phobia’형, ‘philia’형으로 나누고 있다. 본문에서는 이를 참고하여 영화들을 분류해본 결과 한국 영화 속에서 중국인의 형상은 주로 ‘phobia’와 ‘philia’형이 나타남을 알 수 있다. 구체적으로 사극영화와 도시범죄영화에서는 그 이미지가 주로 ‘phobia’형으로 나타나며 일제강점기 영화와 도시멜로 영화에서는 주로 ‘philia’형으로 나타난다. 둘째 중국인의 이미지가 형성된 원인에 대한 분석을 시도하고 있다. 구체적으로 한국 역사 속에서 나타난 스테레오타입과 그 연속성 그리고 시대적 변화와 영화시장의 세계화의 이 두 가지 측면에서 논의하고 있다. ‘phobia’형 중국인 이미지는 한국의 역사 스테레오타입의 연속선상에서 이해할 수 있으며 이는 중국 현지에 대한 상상과 재한 중국인들에 대한 인식으로 분석할 수 있다. 반면에 ‘philia’형 이미지는 한국의 역사적 스테레오타입의 탈피로 이해된다. 세 번째 부분은 한국영화 속에서 나타난 중국인의 이미지가 한중문화교류에 끼치는 영향에 대해 논의하고 있다. ‘phobia’형과 ‘philia’형 중국인 이미지 그리고 그것이 한중문화교류에 미친 부정적 영향과 긍정적 영향을 구체적으로 분석하였다. 타자 이미지에 대한 묘사는 국가 간의 문화교류에 있어 상호작용한다. 영화 속 타자 이미지에 대해 분석함으로써 당시의 문화교류에 대한 현황을 판단하는데 유익한 참고자료를 제공할 수 있다. 이상과 같이 영화 속 타자 이미지에 대한 연구는 학술적 의의를 지닐 뿐만 아니라 중요한 사회적 의의도 지니게 된다.

한국 좀비(zombie) 영상물 연구 : 위험사회의 간(間)좀비를 중심으로

이만강 연세대학교 대학원 2021 국내석사

본 논문은 한국에서 2010년 이후 본격적으로 제작되기 시작한 좀비(zombie) 영상물에 위험사회(Risikogesellschaft)에 대한 징후와 보수적 반응이 담겨있음을 밝히고자 한다. 이를 분석하기 위해 근대 사회를 액체성으로 설명한 바우만과 위험사회로 분석한 벡의 논의를 방법론으로 삼는다. 바우만에 따르면 오늘날 사회는 개인의 정체성이 고정적 성격을 지니지 않은 유동적인 사회이고 미루기가 불가능한 과잉소비라는 특징을 갖는다. 또한 벡은 산업화 이후 과잉생산으로 유발된 위험의 성격을 비가시적이고 비인지적인 것 등으로 설명한다. 한국 좀비 영상물에는 인간과 좀비 사이 존재인 간좀비에 대한 묘사가 두드러지게 나타난다. 간좀비들은 존재적 행태적 측면에서 위험사회의 징후로 그려진다. 첫째로 간좀비들은 인간으로도 좀비로도 변할 수 있다는 데에서 정체성이 고정되어 있지 않은 오늘날 액체사회의 특징을 담지하는 존재들이다. 둘째로 간좀비들은 좀비들이 갖는 특성이기도 한 과잉섭취 감각을 그들이 살아있을 당시 먹었던 음식에 드러낸다. 이는 좀비도 인간도 아닌 간좀비의 특성을 의미함과 동시에 위험사회의 원인이자 징후로 지목되는 과잉성에 대한 은유이다. 셋째로 간좀비들은 좀비로 변해가는 와중에 증상이나 병변이 겉으로 드러남에도 불구하고 영상물 속 인간들에게 위험으로 인식되지 않는다. 이는 오늘날 사회의 위험이 갖는 잠복적인 성격을 암시한다. 한국 좀비 영상물에서 먹을거리와 관련한 과잉성을 드러내는 등장인물들은 간좀비가 되는데 이들은 결국 좀비로 변해 처벌받는다. 이는 성적인 과잉성을 드러내는 희생자들을 처벌해 당시 미국 사회의 보수성을 드러내는 미국의 슬래셔 영화와 유사한 구도 안에서 이뤄지며 위험에 대응하는 한국 사회의 보수적인 반응을 의미한다. 한국 좀비 영상물에는 치료제에 대한 상상이 두드러지게 나타난다. 전체 영상물 가운데 직간접적인 좀비 치료제가 등장하는 영상물은 절반이 넘는데 이는 간좀비들이 다시 인간이 될 수 있다는 것을 의미한다. 이렇게 인간이 된 간좀비들은 가정에서 가부장으로서의 지위를 획득하고 치료제를 독점해 특권적 지위를 누리게 된다. 최근 한국 좀비 영상물에는 이미 좀비로 변했지만 특정 조건 하에서 좀비가 아닌 가족이나 유희의 대상으로 여겨지는 상상적 간좀비들이 존재한다. 간좀비들은 쇠사슬에 묶이거나 쇠창살로 인간과 격리된 상황에서 위험의 대상으로 간주되지 않는다. 오히려 간좀비들은 가족으로 상상되어 살아있는 인간이 그에 강한 정서적 유대를 느낀다. 그러나 이 같은 간좀비들은 끝내 통제에서 벗어나 살아있는 인간들을 위협한다. 또한 간좀비들은 인간들에 의해 장난감처럼 다뤄지기도 하는데 이는 영상물 속에서 비윤리적이고 비인간적인 것으로 그려질 뿐이다. 최근 한국 좀비 영상물의 흐름은 영상물에서 간좀비를 인간과 공존할 수 있는 대상이 아닌 위험 그 자체로 간좀비의 성격을 규정하고 제한하고자 한다. 이는 간좀비가 내포하는 위험에 대한 위기의식을 고조하고자 하는 보수주의적 시도를 의미한다. 본 논문은 이 같은 과정을 통해 한국 좀비 영상물이 액체/위험사회에 대한 감각과 보수적 색채를 내포함과 동시에 드러낸다는 점을 분석한다. 그리고 이는 현재 장기화되고 있는 코로나19 사태와 더불어 좀비 영상물이 한국 사회가 갖고 있는 위험의 문제와 균열의 지점을 첨예하게 드러낸다. This paper aims to reveal that signs of risk society (Risikogesellschaft) and conservative responses are contained in the zombie videos that began to be manufactured in Korea after 2010. To analyze this, the discussions by Baumann who described modern society with liquidity and Beck who analyzed it as risk society were used as methodology for this study. According to Baumann, today’s society is a mobile society where an individual’s identity is not fixed and superfluous consumption can’t be postponed. Beck also explains that the risk caused by excessive consumption since industrialization is invisible and noncognitive. In Korean zombie videos, gan(between)-zombie, a being between human and zombie is described prominently. Gan-zombies are described as sign of risk society in existential and behavioral aspects. First, gan-zombie can transform to human or zombie and in this point, reflects today’s liquid society where identity is not fixed. Second, excessive intake that is also one of the zombie’s traits is exposed in the foods that they ate when they were alive. This suggests that gan-zombie has its own traits that neither zombie nor human have and simultaneously shows that redundancy is pointed out as cause or sign of risk society. Third, when gan-zombie transforms to zombie, symptoms or lesions are exposed, but this is not recognized as risk to the humans in movies. This hints at the latency that the risk at today’s society has. The characters that reveal redundancy related to foods in Korean zombie videos become gan-zombie, which become a zombie in the end and get punished. This is a similar composition to that of American slasher movie which revealed the conservatism of American society where the victims showing sexual excess were punished and this also means the conservativeness of Korean society responding to a danger. In Korean zombie videos, imagination about treatment medicine is prominent. Videos where direct/indirect remedy drug for zombie appears among the total videos exceeds half and this means that gan-zombie can become a human again. Such a gan-zombie who became a human in that way obtains a position as patriarch at home, possesses remedy drug exclusively, and enjoys a privileged position. In recent Korean zombie videos, there are imaginative gan-zombies who are considered as family or object of amusement not zombie in a particular condition although already transformed to zombie. Gan-zombies are not regarded as dangerous when they are chained up or isolated in iron bars from humans. Rather, gan-zombies are imagined as a family and living humans come to feel a strong emotional bond. But such a gan-zombie gets out of control and threatens living humans. Gan-zombies are also treated as toy by humans and this is described as unethical and inhumane in videos. The recent trend of Korean zombie videos is that gan-zombie is defined and restricted as danger rather than object of coexistence with humans. This means a conservative attempt to raise feeling of danger of gan-zombie. Through such a process, this paper finds that Korean zombie videos contain sense of liquid/risk society and conservative color simultaneously. And this shows clearly prolonged COVID-19 crisis and the danger that Korean society has.

(The) Construction of Colonial Korea's Memories through Contemporary South KoreanCinema A Comparative Study of '2009 Lost Memories,' 'Fighter in the Wind,' 'Blue Swallow' and 'Habando':

ALVAREZ 연세대학교 국제학대학원 2008 국내석사

This thesis examines how colonial Korea is perceived in contemporary Korean movies. By examining four films: 2009 Lost Memories, Fighter in the Wind, Blue Swallow and Habando; this research attempts to clarify current patterns of memories regarding this controversial phase of Korean history. The movies chosen for the study were produced and released between 2002 and 2006. These motion pictures will be analyzed from a historical perspective, taking into account the construction and redefinition of Japanese colonial legacy. Our argument establishes that the weakening of the nationalistic paradigm stimulated the emergence of heterogeneous subnarratives which redefine the reminiscences of the occupation, in comparison with the master narratives which dominated films referring to the colonization during the post liberation period. Nowadays there is a clear tendency to renovate the issues that the movies discuss. Indeed, it will be proven that the movies selected retake the theme of colonization in order to produce a more dramatic effect on their respective narratives rather than to make a political point.

2010년대 한중 SF 영화의 세부 장르 혼종 양상 연구

XU HAIXING 경희대학교 대학원 2023 국내석사

본 논문은 2010년부터 2022년까지 13년간 한중 SF영화를 대상으로 한 SF영화 세분화 장르 혼종현상에 관한 연구이다.현대 관객들은 다양한 종류의 영화에 대한 요구와 취향을 가지고 있다. 장르가 혼종된 SF 영화는 다양한 공상 과학 요소를 융합하여, 관객들에게 신기하고 재미있는 관람 경험을 가져다줄 것이다. SF 영화 세부 장르의 혼종은 예측 가능성을 깨고 새로운 이야기와 시각적 요소를 제공하여 관객들에게 새로운 경험을 선사하고자 하였다. 이에 따라 하위 장르도 매우 다양하게 발전해 왔다. SF 영화의 세부 장르 혼종 양상을 연구함으로써 SF 영화의 역사와 발전을 파악하고 미래 작품 개발에 영감을 얻을 수 있는 학문적 토대를 마련하고자 한다. 먼저 선행연구를 통해 한중 SF영화의 특징과 SF영화의 세분화된 장르에 대해 알아보았다. SF영화의 개념과 특징을 확정하고, 한중 SF영화의 역사적 발전, 현황과 특징을 정리하였다. 이후 선행연구를 바탕으로 2장에서 SF영화의 세분화된 장르에 대한 새로운 분류 기준을 제시했다. 제3장에서는 이론을 바탕으로 한중 대표 SF 영화 장르적 특징과 철학 정신을 하나씩 분석한다. 제4장에서는 한중 SF 영화의 세분화된 혼종 장르의 차이와 공통점을 총결산하였다. 결론에서 한중 SF 영화의 발전에 대해 실질적인 의견을 제시하였다. This paper is a study on the hybrid phenomenon of SF film segmentation genre targeting Korean and Chinese SF films for 13 years from 2010 to 2022.Modern audiences have demands and tastes for various kinds of movies. SF movies with mixed genres will combine various science fiction elements, bringing the audience a novel and interesting viewing experience. The hybridization of the SF movie detailed genre broke predictability and tried to provide new stories and visual elements to the audience with a new experience. Accordingly, subgenres have also developed in a wide variety. By studying the detailed genre hybrid patterns of SF films, we intend to understand the history and development of SF films and lay the academic foundation for inspiration in the development of future works. First, through prior research, we investigated the characteristics of Korean-Chinese SF films and the subdivided genres of SF films. The concept and characteristics of SF films were confirmed, and the historical development, current status, and characteristics of Korean and Chinese SF films were summarized. After that, based on previous studies, Chapter 2 presented a new classification standard for the subdivided genre of SF movies. Chapter 3 analyzes the genre characteristics and philosophical spirit of Korea-China representative SF movies one by one based on theory. Chapter 4 summarizes the differences and commonalities of the subdivided hybrid genres of Korean and Chinese SF films. In conclusion, a practical opinion was presented on the development of Korean-Chinese SF movies.

중·한 영화의 여성서사 비교 연구 : <안녕, 나의 소울메이트(七月与安生)>와 <소울메이트>를 중심으로

이가세 한국외국어대학교 대학원 2024 국내석사

With the continuous development of the film and television industry of China and South Korea, the film exchanges between the two countries are gradually frequent, and with the development of feminism, some female narrative films of China and South Korea have attracted wide attention in recent years, but there are few comparative studies on the representation of women in Chinese and South Korean films. The Chinese film SoulMate(七月与安生) focuses on female friendship and tells the coming-of-age story of two girls. Soulmate (소울메이트), a Korean remake, has also been well received. This study first reviews the changes of female images in Chinese and Korean films and the status quo of female films. Then, taking the original Chinese film SoulMate(七月与安生) and the Korean remake film Soulmate (소울메이트) as the center, this paper compares the differences in narrative and image of the two versions of the film through the comparison of culture and female narration, and examines the similarities and differences of female representation in the films of the two countries. It reveals that such narration has a awakening and healing effect on the audience in terms of female consciousness and emotional experience. First of all, this study compares the similarities and differences of female representation revealed by roles, time and space background and events in the female narration of the two films. Secondly, combined with the above analysis, it is found that Chinese and Korean audiences better understand the situation of women in the other country through movies. It is hoped that this study will provide some references for the construction of female images in future remakes.

한국영화에 재현된 민족주의와 국가 지배담론의 이해관계

원원 한국외국어대학교 국제지역대학원 2015 국내박사

Korean Dominant Discourse and How Korean Nationalism is Reproduced in Korean Movies One country’s nationalism depends on its historical situation and the social context that country has faced in the past as well as the present, and Korean nationalism is no different; therefore, empirical analysis is required to study this phenomenon. However, studies of Korean nationalism have been limited in terms of the analytical methods used so far. Nationalism is often accomplished with racial, historical and cultural factors that the homogeneity of the people share in society. But in fact, Korean nationalism has been acting in a contradictory way, and also Korean nationalism in the past has changed in order to keep in line with political agendas. The Korean people greatly understand these changes without difficulty through popular culture. For this reason we can study Korean nationalism by observing the nationalist representation that appears in popular culture and which can reflect Korea’s modern history thoroughly. This paper has the following three purposes. First, it will analyse the contents of nationalism reproduced in Korean popular films, and then try to find the reasons and mechanisms for it. The second purpose, is to explore the political background and purpose of the reproduction of nationalism in Korean movies which is part of popular culture. In addition to that considering the popular is intertextuality, we can understand that the national characteristics shown in Korean movies can also be checked thoroughly through popular Korean culture and social discourse. In terms of the subjects that create nationalism, there are three representations: Ethnic nationalism which comes from an individual’s innate sense of self and country, statist nationalism that a country's elite espouses for political purposes, and civic nationalism which builds up spontaneously from the bottom. These three nationalistic interactions will draw on the overall topography of Korean nationalism. These primodialist and constructivist perspectives are necessary for understanding Korean nationalism. Finally, the third research goal is the reproduction of nationalism in film, that is, how nationalism is maintained, portrayed, and represented in a certain era, which happens to find a projection above the will of the principal subjects which adds more emphasis on nationalism. In this paper, portrayals of ‘Korean nationalism' which appear in Korean films targeted at Korean audiences will be analysed together with their release dates because the portrayal of Korean nationalism in films has changed over time in accordance with different political leaders who wanted to promote their own versions of nationalism. Due to these differences, several different versions of Korean nationalism have been advocated by both conservative and progressive parties, and also by Korean presidents that selected nationalism as their dominant ideology and emphasized it politically; consequently, nationalistic perspectives revealed in films is a phenomenon that can be found to be consistent with the president of that era’s discourse. The first time that nationalism can be specifically seen in film is during the Lee seung-man government. A problem at that time was how to rebrand Korean nationalism on a national level that would bring Koreans together as one people so soon after liberation from Japan. Korea was soon to be separated into two countries; therefore, the government had to mobilize the nation / state-by establishing a national identity through a system of checks. At this time, the government and the intellectuals used the phrase: 'reconstruction'. This symbol appeared frequently in film culture in the late 1950s Sharon, the national anthem, national flag, such as "country" and it was independent material related to the establishment of identity. When viewed through film the national identity of the Republic of Korea had become increasingly formation can be over the course of the 1950s, rather than that which already exists in solid form at the time of that government. Second, the Park Chung-Hee government in the 1960s and 1970s which was a developmental dictatorship that focused on national development, economic development and political priority to adopt nationalism was mobilized as a tool for economic development. By strengthening the unity and solidarity of nationalism inside 'our' political aspect of the case was to mobilize the masses for economic purposes. The 60's and 70's were a means of national cultural policy that actively involved the cultural area to nationalism and ethnic discourse as it established a dominant ideology. The Park Chung-hee government enacted the first time since the 1962 movie How to easily and precisely control the film policy, your turn to 1973 and was amended to change so often. Therefore, the film itself was regarded as a media to create a future of brighter prospects than just a realistic image of contemporary revealing. Finally, the Kim Dae-jung government. Kim led the resistance movement against the former leader Park and argued that Korean needed to recognize the inseparable relationship forged between dictatorship and to overcome the division and the Civil division system for the democratization of politics. In this way, Kim emphasized the unity of national democracy. Resistance as a nationalist discourse emerged as the framework of the opposition with the ruling nationalist discourse. Entering the second half of the 1990s, the Kim Dae-jung administration viewed the issue of division between the two Koreas as taboo so Korean popular films and culture did not deal with this issue as much as they had done in the past. The portrayal of North Korea in film was a politically sensitive topic of inter-Korean relations in the real world and therefore the issue was avoided. The first perspective is especially emphasized in this paper, when you want to access nationalism as it appears in the modern history of Korea as constructivist; the unique characteristics of Korea will be understood as the result of historical contingency. Ethnic and get us out of the colonial period there was a contradiction and conflict between national cultural debate becomes earnest done in the context of nation-state building. What is culture to be rebuilt from the nation-building process, we mean the national culture to meet the demands of a new age. In addition, nationalism has grown rapidly since the late 1990s to the mid-movie-2000s phenomenon can be accompanied with anxiety about globalization are analyzed in promoting economic crisis since the people's psychological needs of nationalism. What points want to discuss in this paper is more political elite and supreme ruler of Lee Seung-man , Park Chung-hee and Kim Dae-jung, especially with the left and right nationalist political necessity and purpose were grafted logic utilization. Post-modernism concept of the nation in terms of ideology and nationalism can always be fixed with the agreed conclusions, but know that reconfiguration is constantly being redefined and area of contention for approval. Where does Korean nationalism come from? Korean nationalism is produced, from the 'political leaders' and receives the response of the public 'from below' by changes in social conditions and the process is constantly reconfigured to accomplish this.

한국영화의 가족이데올로기 연구 : 2000년 이후 천만 관객 영화의 가족서사를 중심으로

김지선 한국외국어대학교 국제지역대학원 2023 국내박사

한국 영화를 통해 본 휴먼이미지디자인 연구

이지혜 건국대학교 대학원 2021 국내박사

현재의 인류가 존속과 번영을 이루기까지는 수많은 위기와 과정 그리고 변화의 결과에 기인한 것이다. 예측할 수 없는 환경에서 살아남기 위해 환경에 적응하는 능력을 시대마다 발전시켜왔다. 오늘날의 인류 세계는 이를 잘 극복하고 발전시켜온 현재이자, 미래의 새로운 기준점이다. 2000년 이후 세계경제는 고도성장과 더불어 생활 전반의 수준은 향상되었으나 경기과열, 부채누적 등 경제 불황을 지속시켰다. 이는 연계적으로 계층 간 불평등 심화와 청년실업, 과열된 경쟁, 저출산에 따른 고령사회 진입 등으로 이어졌다. 현재 사회가 품고 있는 전반적인 문제들은 앞으로 살아갈 현대인에게 어떤 휴먼이미지상(像)이 필요할 것인가에 대해 끊임없이 질문하게 할 것이다. 이에 본 연구자는 시대에 따라 변화하는 휴먼이미지를 분석하기 위하여 다음과 같이 접근하였다. 연구의 범위 및 방법으로 2000년부터 2020년까지의 시대상을 분석하고 한국의 정서를 담고 있는 대중영화 340편을 대상으로 하였다. 연도별 주요 영화의 중심 소재와 시대적 배경 그리고 여주인공 이미지를 중심으로 분석하였다. 여성의 이미지 분석을 위한 이미지 분류는 선행연구에서 활용한 의미분별척도법을 구성하여 설문을 진행하였다. 지적인 이미지, 젊은 이미지, 활동적인 이미지, 현시적인 이미지로 분류되었고 이를 바탕으로 휴먼이미지 분야별 전문가 5인이 각 영화 속 여주인공 이미지를 분류하였다. 또한 시대상과 영화 속 여주인공 이미지와의 관계성을 살펴보고 도출된 이미지를 분석하였다. 분석한 결과를 요약하면 다음과 같다. 첫째, 2000년대의 여성 이미지는 활동적인 이미지, 젊은 이미지, 현시적 이미지, 지적인 이미지 순으로 나타났다. 남북관계 개선을 위한 노력에도 불구하고 위협받는 국가안보로 인한 국민의 불안한 정서와 함께 세계경기불황 지속으로 경기침체가 가속화되고 있었다. 무한경쟁 사회에서 살아남기 위해 개인은 외모와 학력 등 과열된 경쟁을 하게 되었다. 사회 전반에 동안(童顔)과 몸짱 신드롬(Syndrome) 열풍이 불었고 연예인뿐 아니라 일반인에게까지 확장되었다. 이를 가능하게 한 것은 2000년 초반 본격적으로 보급된 인터넷과 휴대전화 덕분이다. 새로운 형태의 온라인 소통은 젊은 세대를 중심으로 주요 소통 수단이 되었다. 이처럼 2000년대는 개인의 경쟁력이 중요시되고 적극적인 참여를 지향하는 활동적인 이미지가 가장 높게 나타난 것이다. 둘째, 2010년대의 여성 이미지는 지적인 이미지, 젊은 이미지, 활동적인 이미지, 현시적 이미지 순으로 나타났다. 대외적으로는 세계경기불황과 남북관계 개선을 위한 정상회담, 일본원전유출 사건이 발생하였다. 미국의 금융위기 이후 유럽발 금융위기까지 발생하면서 세계경기불황이 지속되었고, 국내 실업자 수가 100만 명을 상회하며 청년실업도 심각한 사회문제로 나타났다. 갈수록 어려워지는 경제 상황은 젊은 세대로 하여금 결혼 기피와 저출산으로 이어졌고 고령사회를 앞당기게 되었다. 여기에 국가적 재난으로 떠오른 메르스·코로나19 감염으로 국민의 안전과 건강에 직접적인 영향을 주었다. 이러한 복합적인 상황으로 개인의 경쟁력이 중요시되고 자기계발과 워라밸을 지향하는 등 지적인 이미지가 상승하여 나타나게 되었다. 지적인 이미지는 2000년 이후 가장 큰 폭으로 높게 나타나는데, 이는 여성의 대학 진학률과 사회활동 참여 기회 확대 등으로 사회적 문제를 바라보는 관점과 대응 방식이 변화되고 있음을 의미한다. 이처럼 휴먼이미지는 시대상이 반영된 이미지로 분류될 수 있음을 보여준다. 향후 새로운 시대에 필요한 휴먼이미지를 제시하여 개인과 국가의 브랜드 가치 상승을 위한 자료로 활용될 수 있기를 기대한다. Since 2000, the world economy has improved, as has the overall standard of living, but there is a residual economic recession due to factors such as overheating and accumulated debt. This has led to deepening inequality between the social strata, increased youth unemployment, and overheated competition. These factors further exacerbate the problems brought about by an aging society due to the declining birthrate. Such a phenomenon will cause people who in the future to ask what kind of human images are necessary to address the overall problem that society faces. Therefore, this study analyzed how the human image changes with time. The scope and method of the study analyzed the period from 2000 to 2020, and 340 popular films containing Korean sentiment were targeted. The main material of major movies by year, the historical background, and the image of the female protagonist were analyzed. For image classification and the analysis of women characters, a questionnaire was conducted by the semantic discrimination scale method used in previous studies. Images were classified into intellectual images, youthful images, active images, and expressive images. Five experts in the field of human images classified the images of the female protagonists. In addition, the relationship between the times and the images of the female protagonist was examined, and the derived images were analyzed. The analysis results are summarized as follows: First, the image of women in the 2000s appeared in the order of active images, youthful images, manifest images, and intellectual images. Efforts to improve inter-Korean relations due to threats on national security and the acclerating economic recession due to the continued global economic recession, led to an uneasy sentiment in the society. As such, in the 2000s, individual competitiveness was important and an active image oriented toward active participation was presented. Second, the image of women in the 2010s appeared in the order of intellectual images, youthful images, active images, and manifest images. The number of unemployed people in Korea exceeded 1 million, and youth unemployment became a serious social issue. The images of women from 2000-2010 appear in the order of active images, young images, and current poetic images, and intellectual images. In 2011-2020, the images of women were in the order of intellectual. images, young images, active images, and prefectural poetic images. The intellectual image, which had the lowest occurance in the 2000s, was displayed the most in the 2010s. This can be attributed to the higher the number of women going to university, the greater the opportunities for social advancement, and the greater the value of their roles. In this way, the perspective of looking at women is that young images are not limited to active images, or poetic images, but are changing. Human images are also changing according to the circumstances of the times. Therefore, this study presents a human image required for the new era, that will be able to take advantage of individuals and materials as the national brand value rises.