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- 저자 : Michael Hurt(Michael Hurt) (검색결과 11 건)
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Photosartorial Elicitation and the Bukae of Korean Instagram
Michael Hurt(Michael Hurt) 아시아질적탐구학회 2022 아시아질적탐구 Vol.1 No.2
Korean Instagram is in the midst of a phenomenon involving the creation and self-marketing of alter ego identities — 'bu-kae'— that create a culture in which more specific, digital subcultures lead to the formation of real communities offline, which are a thriving part of youth culture today. The 'sub'(부) 'character'(캐) is nowadays a major mode of interacting online in South Korean social media and a clear result of digital media cultures that nowadays house different parts of identities for specific kinds of social uses through identity separation. This research uses 'photo-sartorial elicitation', a structured interaction and means of gathering social data by having a model and photographer interact around clothing in a way that reveals previously hidden or non-obvious social facts about that person or even a community. I am able to engender participation around a photographic project since photographs on Instagram are the prime social currency within digital subcultures on Instagram, with 'exchange rates'for participation in front of the camera far higher than even direct payments of fiscal currency might provide. In the end, it is only by being able to answer the questions, 'Why are you here?'and 'What do I get out of participation as a subject?'that one can gain the ability to reach into the depths of social phenomena that are otherwise largely impenetrable to the researcher’s gaze.
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Michael Hurt 한국질적탐구학회 2017 질적탐구 Vol.3 No.1
Unlike traditional Chinese tourists who seem content to sightsee the city of Seoul as a site of many toured objects, there is a sizeable number of tourists from China who actively engage in the much more participatory act of finding trendy Korean clothing, wearing it, and experiencing Korea as an apparent Korean. The act of passing - no matter how superficially - as a Korean seems to add quite a bit of “existential authenticity” to the tourism experience in Korea. Ning Wang (1999) provides a lot of the theoretical undergirding for this paper in his explication of what he calls "existential authenticity" in tourism studies. In observing and interacting with young subjects as a street photographer in Seoul, I have increasingly come into contact with seemingly Korean subjects around popular tourist sites who turn out to be Chinese nationals merely in Korean dress. This study uses ethnographic interviews with and portraits of Chinese tourists in Korea who dress and pass as Koreans the as not mere illustration of this phenomenon, but a source of ethnographic data itself. This article is designed as a methodological screed of sorts, and will grapple with the apparent methodological conflict between photojournalistic practices and more traditional uses of photography in academic ethnography. The crux of the methodological question is how to mitigate two different kinds of photographic practice when dealing with subjects and attempting to represent etic reality. The paper also explores the idiosyncrasies and exigencies of the Korean socio-legal environment, along with the nature of street photography, towards the explication of a more flexible “situational ethics” that is specific to the nature of the documentary work being conducted while adhering to an ethos of “doing no harm.” It will also broach the idea of harnessing the “male gaze,” which, placed into the service of the street photographer armed with the camera as a recording device, becomes a crucial tool in guiding the eye towards crucial instances of gender and identity performance as a key guide towards identifying particular modes of identity representation in ways that traditional sociology does not allow.
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Michael W. Hurt 한국예술종합학교 무용원 2020 무용과 이론 Vol.1 No.-
Street fashion is an embodied and mediated social practice that, like dance, the primary medium of the exchange of information is the body. At Seoul Fashion Week, street fashion has become a performance of sartorial acts of gender transgression. And when interpreted through Elaine Aston’s notion of feminist theater practice that utilizlizs the Brechtian dramatic tool of Verfremdung (“alienation”) to help the audience form a critical view of a social practice. According to Aston, there are three main forms of embodied, performed “display” in which feminist theater engages as a way of social critique: Over-Display, Under-Display, and Cross-gendered Display. This paper posits an additional one, called Code-Smashing Display, that is part and parcel of a unique form of Astonian, feminist theater practice that occurs within Korean street fashion as it is constructed as cultural text. Code-Smashing Display is the very currency of the socially conscious Verfremdung in which many frequently paepi engage and which seems to help define style within Korean street fashion as a transgressive social practice unto itself.
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From Fashion Fandom To Phenom -The Paepi and Korean Street Fashion as a New Form of Hallyu
Michael W. Hurt,장원호 지역사회학회 2019 지역사회학 Vol.20 No.2
As simple as it may sound, “street fashion” is a complex and contested concept, with a more layered and complex genealogy than its seemingly simple, colloquial usage in vernacular discourse might tend to belie. Commonly used and understood today, the term “street fashion” refers to the items of clothing that everyday people on the street wear. However, more theoretically argued, “street fashion” is a mediated social practice centered around a particular kind of consumption. In this sense, it is inextricably linked to industrial, productive forces with interests in fostering further consumption. In South Korea, it has developed from a tiny, unnoticed fandom at the fringes of a culture industry field that had enjoyed little international success into one of the most noted events in the international field of fashion, all in less than a decade. Based as it is on the attention gained from the efforts of non-fashion field members possessed of little cultural capital or institutional support, the transformation is quite remarkable.
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Performing Korea : K-POP as Traditional (Represntational) Dance
Michael Hurt 한국예술종합학교 무용원 2021 무용과 이론 Vol.3 No.-
It is a known fact that K-POP has become a global art form, understood within an aural, musical context. But the role of dance as a primary engine (primarily through the form of the music video) is rarely discussed. Even less considered is the fundamental, universal aspect of dance’s appeal and origins in the cognitive workings of kinesthetic empathy as actualized by mirror neurons and their role in the creation of the hybridic sense of visual proprioception that lies at the heart of felt artistic expericece on the part of an observer. This sense of visual proprioception lies at the heart of enjoyment of various media whose currency is vicarious pleasure, whether one is enjoying an action film, dance performance, cooking show, or pornography. K-POP dance’s success lies in visual proprioceptively mediated art forms as projected on millions of interconnected screens across the globe, and the key to understanding K-POP dance’s success lies in understanding K-POP as a representational art form at a time when Korean popular culture is trending worldwide, and as an art form that was hyper mediated at just he right time in the beginning of an era in which the world has only recently become visually connected across screens. The power of K-POP dance is not in the individual moves contained within it, but in its ability to maximally leverage itself within the Age of Screens and while utilizing the mechanism of visual proprioception to form a global language of dance.
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From Fashion Fandom To Phenom- The Paepi and Korean Street Fashion as a New Form of Hallyu
Michael W,Hurt,Wonho Jang 지역사회학회 2019 지역사회학 Vol.20 No.2
As simple as it may sound, “street fashion” is a complex and contested concept, with a more layered and complex genealogy than its seemingly simple, colloquial usage in vernacular discourse might tend to belie. Commonly used and understood today, the term “street fashion” refers to the items of clothing that everyday people on the street wear. However, more theoretically argued, “street fashion” is a mediated social practice centered around a particular kind of consumption. In this sense, it is inextricably linked to industrial, productive forces with interests in fostering further consumption. In South Korea, it has developed from a tiny, unnoticed fandom at the fringes of a culture industry field that had enjoyed little international success into one of the most noted events in the international field of fashion, all in less than a decade. Based as it is on the attention gained from the efforts of non-fashion field members possessed of little cultural capital or institutional support, the transformation is quite remarkable.
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