1960년대 대중매체 보급과 미의식의 근대화 양상 -김수영 텍스트를 중심으로-

김우필 ( U Pil Kim ) 한민족문화학회 2013 한민족문화연구 Vol.42 No.-

A democratic idea be inspired by april 19 revolution, it was time to appear that desire about popular culture of people in earnest. Until The First Republic, A Korea society governed by elite`s culture base on printed media. But After The Third Republic established, As a broadcast media the same thing Radio and TV has came into wide use, Cultual environment of Korea society became quickly to base of broadcast media. The Park regime who The Third Republic established has made use of broadcast media to advertising for propagate economic developement policy of government. As it has problem of fifty percent illiteracy rate highly and poverty in the 1960s, a broadcast media spread of radio mainly. After radio`s spreadable, it was happening that popular rule of fascism justify oneself TV has came into wide use too. Because the broadcast media was active for political intention, In the 1960s was up popular consumer culture period. Kim Su-young recognized kitsch when it appeared with popular consumer culture as vulgar snobbism, avant-garde as classy snobbism. The advent of snobbism was unavoidable modernization aspect of aesthetic. The culturalism which it appear already since colonial Joseon spread as cultural snobbism in postwar and snobbism society appeared completely as encroach all people and elite in the 1960s. Kim So-young recognized snobbism as unavoidable completely, raised avant-garde as classy snobbism as new aesthetic.

타자화(打字化)된 문자의 발화성(發話性) 획득이 갖는 의미

김우필 ( U Pil Kim ) 한민족문화학회 2014 한민족문화연구 Vol.47 No.-

The patchwork storytelling culture to remember information based on probability, additivity, and situation oral culture. While the narrative culture to interpret the remember information based on causality, linearity, and system character culture. However, the nature of the text was highlighted auditory culture media and technology combined with print media, emerged between the character appears on the trans-media culture and oral culture is an oral culture phenomenon of the second. In particular, the change Caused stored, the recording, the digital media is a communication method of written language, was transformed into a multimedia content to pursue a combination of visual sensory central character. In this process, forming a complementary relationship with the public interest in culture media and technology culture is an oral culture and character. Conflict with each other have been developed and formed by the fusion of print media, broadcast media, electronic media, popular culture, character and oral character today. To examine these changes, “New York Times” and “Asian economies” (print media), “EBS FM radio” (broadcast media), were analyzed in cases with “Buzz Feed” and “Twitter”(electronic media). Shows a typical phenomenon remediated character culture to the oral media first, EBS FM <to read the book Radio> is. But it can not meet the change of the content of the media changes are formally. Failed to take advantage of all the value of character cultural benefits of oral culture and trying to recycle educated character culture popular culture, but the EBS FM. The character is based on the medium, but can be called successful examples of trans-media, and building trust based on the closeness of the advantages of oral culture Buzz Feed and Twitter. The technical concept leverages the features of the oral culture of the media Buzz Feed and Twitter. Also showed that it can not rely on narrative methods suitable for digital media news production and consumption more than the New York Times and the Asian economic storytelling news. Even the content of the news media is a key technology to reproduce the tradition of oral culture, so the fusion of the character and orality attempt to meet all of conscious and entertainment.

식민지 조선의 과학,기술 담론에 나타난 근대성 -인문주의 대 과학주의 합리성 논의를 중심으로-

김우필 ( U Pil Kim ),최혜실 ( Hye Sil Choi ) 한민족문화학회 2010 한민족문화연구 Vol.34 No.-

The modernity as purpose or consequence of modernization, these aim for rationality and reasonableness. A humanist the same as Montaigne in the 16th century did seek modernity in the field of culture and the arts, A natural philosopher the same as Descartes in the 17th century did seek modernity in the field of the science and technology. Japan which started modernization relatively late than the West set up the main purpose of modernity to Western scientific rationality. Colonial Chosun also had been made Japan their model set up the purpose of scientific rationality. Japanese colonization was going along gradually, nationalism parts conducted technology-oriented discours than science, socialism parts were to conduct science-oriented discours than technology. Assume that technology discourse of colonial Chosun was becoming into bourgeois modernity to the exclusion of humanism, science discourse was becoming to pursuit modernity of white-color workers with humanism. However positivistic science discourse of scientist like Lee Mangyu, Han Inseok, Lee Jeongseop and others could hold a dominant position than critical science discourse of humanist like Park Yeonghui, Yang Myeong, Park Yonghoe, Kim Changse and others because of the political reality in Korea. In result, technology-oriented scientism was been the aim of modernization of Korea losing humanism.

문화산업과 저널리즘의 탈근대적 대중미학의 발견

김우필(Kim U-Pil) 인문콘텐츠학회 2011 인문콘텐츠 Vol.0 No.20

문화산업과 미디어의 본질을 파악하기 위해서는 정치적ㆍ윤리적 차원에서 미학과 저널리즘의 문제로 접근하는 것이 필요하다. 근대 산업사회 이후로 노동은 산업(경제)의 영역이고, 유희는 문화(예술)의 영역이었다. 그런데 20세기 초 문화산업의 등장과 함께 노동과 유희의 경계가 해체되기 시작했다. 호르크하이머와 아도르노, 벤야민은 이 문제를 상품의 미학으로서 문화산업, 임화는 기술과 예술의 자기동일성 추구로서 미디어산업(저널리즘)의 문제로 보았다. 그리고 20세기 초 예술작품은 복제기술을 통해 대량으로 복제되면서 일반 대중들도 쉽게 접할 수 있는 상품이 되었다. 문화산업은 누구나 예술을 향유할 수 있는 대중문화를 만들어낸 것이다. 그런데 이러한 문화산업과 대중문화는 20세기 파시즘 등장의 촉매제 역할을 했다. 대량복제 기술은 차이의 문화를 소멸시켰고, 획일화된 문화적 환경을 조성하여 선전ㆍ선동의 대중조작 정치인 정치의 심미화를 불러 일으켰다. 한편 미디어 기술의 발달은 저널리즘의 대중화를 이끌었고, 문화산업은 그러한 저널리즘을 기반으로 성장하였다. 미디어 저널리즘은 점차 대중의 정치적 욕구와 밀접해지면서 문화예술 영역의 주요 기제로 작동하게 되었다. 임화는 식민지 말기 저널리즘, 문화운동, 비평의 윤리 문제에 천착했다. 특히 그는 잡지와 신문의 비평행위가 문화예술에 대한 단순한 해석행위가 아니라 정치행위가 될 것을 요구했다. 이러한 문화운동으로서 저널리즘이 문화산업을 이끌지 않는다면 대중문화는 파시즘과 결합할 수 있음을 경고했다. 파시즘 시대의 한 복판에 서 있었던 임화는 소설로 대변되는 상업적인 문화예술 상품화와 상업자본에 점점 종속되기 시작한 미디어를 문화산업 자본주의로 단정하기보다 근대 시민사회 문화운동의 토대이자 환경으로 인식하였다. 나아가 문화산업과 미디어 저널리즘에서 근대적ㆍ민주적 시민사회를 구축할 미적 근대성의 기제를 발견하였다. 임화는 문화산업과 미디어 저널리즘이 대중문화와 대중예술의 새로운 미의식을 만들어 낼 가능성을 보았다. 따라서 문화산업이 대량으로 복제한 예술상품을 획일적으로 만들어내는 것이 아니라 대중 스스로가 예술상품 창조에 적극적으로 참여하게 만들 때 문화산업은 문화예술의 양적ㆍ질적 발달을 이끄는 탈근대적 대중미학의 산업형태가 될 것이다. It is necessary to access on aesthetics and journalism for understand the essence of cultural industry and media in the political and ethical level. After modern industrial society, a labor belongs to the economy and a play belongs to the Art. However the boundary between labor and play began into break when cultural industry appeared. M. Horkheimer, T. W. Adorno and Walter Benjamin recognized this problem to be cultural industry as aesthetics of commodity, Imwha recognized this problem to be journalism as pursuit identity of Art and technology. In the beginning 20th century a work of art was reproduced a large quantity by copy technique and then that was commodity which everybody people could be close easily. But this cultural industry and popular culture took a role to promote the advent of fascism. Meanwhile development of media technique conducted to popularization of journalism, so cultural industry have grew up its roots in such a journalism. Media journalism did more and more close to political desire of the masses, and that became main mechanism of the cultural arts. Imwha did concern himself about journalism, cultural movement, ethical critics. He did agitate that critical action of magazine and newspaper must be political action not simple explain about the cultural arts in particular. Imwha’s idea was that popular culture could combine to fascism in case journalism as cultural movement do not lead cultural industry. In age of fascism, Imwha recognized media to base or condition of cultural movement in modern civil society than cultural industry for capitalism. Furthermore, he did find a mechanism of aesthetic modernity to construct modern and democratic civil society in cultural industry and media journalism. Therefore if a cultural industry make the masses by oneself to take part actively for a creation of art commodity, it will be an alternative industry which conduct a cultural art to development quantitatively as well as qualitatively.