일본 대중문화론 소고- 전후(戰後) 일본 대중문화론 형성에 관하여 -

조은하 글로벌 문화콘텐츠학회 2015 글로벌문화콘텐츠 Vol.0 No.18

This paper explores the emergence of Japanese mass culture theory in the post-war era. Japanese mass culture theory developed in the post-war era becomes the root of current Japanese mass culture theories, being based on a variety of perspectives and theory. In order to analyze the mentality of the masses in the post-war era, Japanese mass culture theory in the formative years has set the mass culture in the starting point of the research. Then it has focused on the social effect of the acceptance of American mass culture from the view of the defeated nation. Especially some of the scholars who have appeared in this era tried to systemize the mass culture theory, based on each other views and horizons. Tsurumi Shunsuke, who focused on modern mass culture as a philosopher, Tsutsumi Seiji, who has established a realistic theory of mass culture as a writer and an entrepreneur, and Mita Munesuke, who focused on the interaction of mass culture and society as a sociologist. These three scholars, although they started on the different academic field, share the view. They all give the importance the interaction between the society and the mass culture, the independent development of the mass culture and the advent of the consuming subject. Their interest and the research methods play the important role in the formation of the uniqueness of the Japanese mass culture theories since the 1990s. And also it provides important implications for the understanding of ‘Otaku’, who are the unique consuming subject in Japan mass culture. 본 논문은 현재 다양한 관점과 이론을 기반으로 활발하게 전개되고 있는 일본 대중문화론에 있어, 그 뿌리가 되는 전후에서 80년대까지의 일본 대중문화론의 등장에 대해 살펴본다. 형성기의 일본 대중문화론은 전후 격변기 대중의 심성을 분석하기 위해 그들이 향유하는 대중문화를 연구의 시발점으로 삼아 전개되며, 여기에 패전국의 입장에서 외삽적으로 등장한 미국 대중문화의 수용을 겪으면서 이것이 미치는 사회적 영향에 대해 주요하게 착목하고자 했다. 특히 이 시기에 등장한 여러 학자들은 각기 다른 문제의식과 지평 위에서 대중문화를 바라보고 이를 체계화하려 했다. 철학자이면서 동시에 근대적 대중문화에 주목했던 쓰루미 슌스케(鶴見俊輔), 기업가이자 문필가로 대중문화에 대한 현실적 이론을 정립한 쓰쓰미 세이지(堤 清二), 사회학자이며 대중문화와 사회의 상호 관계를 주목한 미타 무네스케(見田 宗介) 등은 각기 다른 학문적 기반에서 출발했으나, 공통적으로 일본의 정세와 대중문화 사이의 상호관계, 사회적 규정성으로부터 탈맥락화되는 대중문화의 독립적 성장, 그리고 대중문화의 새로운 소비 주체의 등장에 주목한다. 그리고 이들의 관심 지점과 연구 방법은 이후 그들의 영향을 받은 90년대 이후 대중문화 연구의 급격한 성장과 함께 확장되어 독특한 일본 대중문화론 형성의 중요한 계기로 작동한다. 또한 ‘오타쿠’로 이야기되는 일본 고유의 대중문화 소비층의 고유성의 뿌리에 대해 이해할 수 있는 중요한 시사점을 제공하고 있다.

대중문화의 심리학적 접근과 탐색

윤유경,채지영 한국문화및사회문제심리학회 2005 한국심리학회지: 문화 및 사회문제 Vol.11 No.3

본 연구에서는 대중문화를 학문적 관점에서 개관해 보고 이를 바탕으로 대중문화에 대한 심리학적 접근을 탐색해 보았다. 지금까지 이루어진 대중문화 연구를 연구대상에 따라 살펴 보았으며, 산업과 소비자학, 교육 및 발달심리학의 관점에서도 분석해 보았다. 이와 더불어 대중문화를 바라보는 각각의 관점에 따라 어떻게 연구의 경향과 한계점이 나타나는지도 논의해 보았다. 본 연구는 이러한 분석을 바탕으로 대중문화 연구에 대한 전반적인 심리학적 관심의 촉구, 대중문화에 대한 정서적 체험의 분석과 측정의 필요성, 기획 문화적 관점에서 산업 및 소비자학적 접근의 역할 증대, 청소년 문화를 긍정적으로 수용하는 발달심리학적 시각의 변화, 대중문화 관련 학제 간 연구 등을 제안하고 있다. 이미 대중문화는 우리 실생활에 밀접하게 침투되어 있으나 이를 해석하고 분석하는 일은 심리학적 관점에서 보면 매우 미미하였다. 본 연구는 우리 생활에 함께하는 대중문화에 대한 관심과 그 실체를 인정하는 입장에서 대중문화 논의를 시도하였다는데 의미가 있으며, 본 연구를 통하여 심리학의 관심 영역이 확대되고 대중문화에 대한 접근 방법이 다양화되었으면 한다. This overview study of mass culture is based on an academic point of view and based thereon an investigation of mass culture from a psychological standpoint follows. This study reviewed previous studies of mass culture that have been done so far divided into Producer-oriented, Text Decoding-oriented, and Recipient Theory, according to subjects of the study. The studies were also reviewed from the viewpoints of industry, consumer science, education, and developmental psychology. Further, it was discussed how trends and limitations in research were covered according to each viewpoint on mass culture. Based on the analysis, this study aims to promote overall psychological interest in studies of mass culture; to present the necessity of analysis and measurement of emotional experience on mass culture; to increase the roles of industrial and consumer science approaches in terms of planning and culture; to change the viewpoint of developmental psychology that accepts youth culture positively; and, to present interdisciplinary studies related to mass culture. Mass culture has already penetrated deeply into real life but there are few analyses and interpretations of mass culture in terms of psychology. This study is meaningful from the aspect that discussion of mass culture has been placed in a position that recognizes the entity of and interest in mass culture. Through this study, I hope that the scope of interest in psychology will expand and that approaches to mass culture will become more diversified.

중국 ‘신좌파(新左派)’의 대중문화 담론 고찰

안인환(Ahn In Hwan) 한국중국현대문학학회 2010 中國現代文學 Vol.0 No.53

This thesis is to critically investigate mass culture discourse that the Chinese ‘New Left’ proposed. The ‘New Left’ fundamentally views mass culture as middle class or white collar. This provision of class is to aim at criticizing mass culture using culture of specific class. Mass culture discourse of the ‘New Left’ includes Frankfurt’s critical theory, especially notion of culture industry functions as a mainly theoretical resource. Critical theory that considers the production subject as culture industry understands receiving subject as passive and mechanical existence. As a result, criticism of mass culture and audience as passive(or negative) objects are placed in the discourse structure. Mao Dun defined mass culture as petit bourgeois's culture and criticized their low quality tastes. He chose a negative word, ‘petit bourgeois’ instead of ‘the mass’ word to keep his imaginary(or significant) ‘the mass’. Despite the difference of historical context, the New Left and Mao Dun's mass culture discourse consist of very similar logistic system. In this aspect, criticism of mass culture that the New Left and socialistic intellectuals progressed in the 1930's is placed in a continual line. However, for them, negative recognition of this mass culture(or the mass) shares hidden ideological effects which affirm the discourse subjects, or intellectuals. That is, it exists that the more criticized petit bourgeois is, the more distinct social function and role are. The main characteristic which mass culture discourse of the New Left has is revealed as ‘politicalism’ and ‘counterculture’. Political attitudes demanding macropolitical practices are that the New Left himself criticizes ‘academic politics’. But paradoxically, they don’t free themselves from academic politics. Unlike socialistic intellectuals, their discourse has countercultural characteristic with the boundary which can't include socialistic future society in their discourse inner.

1930~40년대 미국 지식인의 대중문화 인식 : 뉴욕지식인들을 중심으로

김진희(Jin Hee Kim) 한국아메리카학회 2008 美國學論集 Vol.40 No.3

The era of the great Depression was a watershed in intellectuals' conceptions about the mass culture. At this time, mass culture achieved national penetration and provided the Americans with a chance to forget their economic difficulties. The word ""mass"" and ""culture"" became commonly together in English from this time. In observing these phenomena, intellectuals began to show a growing appreciation of the mass culture. Among them were the New York Intellectuals, a small group of liberal radical intellectuals clustered around the partisan Review, Who almost singly vitalized the critique of mass culture during and after the 1930s. As the second generation of Jewish immigrants, Marxists and Cosmopolitans, they tried to develop a rigorous discourse of authenticity in American culture and society, and commented on the mass culture as means of expressing their ideas and of finding their own identity as intellectuals. While they identified themselves as radicals, they broke from the orthodox Marxsim, rejected the Popular Front, and embraced high modernism as an alternative to the philistinism of Left or Right. The New York Intellectuals' critique of mass culture came from several angles. They regarded mass culture as unreal and was mass produced for profit. They also warmed that mass culture would destroy both human and intellectual qualities. They also despised what was known as middlebrow culture as they regarded it as a pretender to serious culture, which was more subversive and detestable than mass culture. Among most of the New York Intellectuals, all of these arguments combined in their to mass culture. However, the concept of 'mass' has never been congenial to group. As intellectuals at heart, they always felt it better to have the masses led by the more talented and perceptive. That appreciation for a vital distance from the people was what underlined the group's identities as intellectuals. The New York Intellectuals regarded themselves as avant-garde intellectual cadre to protect high culture. In that way, they became a group of high culture elitism. Dwight MacDonald, for instance, hoped for the development of ""a clearly defined cultural elite here"" so that the masses could settle into their kitsch and the classes could relax with their high culture. However, as the New York Intellectuals had not understood mass culture, they had allowed their argument to become an undemocratic satire against popular taste. Furthermore, their allegiance to their intellectual identities was stronger than their commitment to their political identities. Instead of focusing on mass culture as a problem of capitalist politics and economics, they described it as a dangerous undermining of free intellectual culture. Instead of supporting the rise of the people(or the mass), they chose to break with it over the importance of correct intellectual indicate the extent to which their increasing conservatism had been a part of their larger orientation as intellectuals since the 1930s.

도날드 닷슨의 포퓰러컬처(Popular Culture)와 매스컬처(Mass Culture) 논의를 반영한 대중사회에서의 무용 문화연구

임수진 ( Yim Sujin ),정의숙 ( Chung Euisook ) 한국무용예술학회 2015 무용예술학연구 Vol.55 No.4

The purpose of this study is to analyze Korean dance culture facing mass society based on Dodnald Dodson’s article Differentiating Popular Culture and Mass Culture. According to him, what differentiate popular from mass is the influence and power of businessman and the money. In case of popular culture, businessman stays in distance from artists and public while they conduct direct communication. In mass culture, contrastively, businessman becomes decision maker who controls all details. In this type of culture, artists hardly obtain their creative autonomy. Based on this idea, we differentiate two representative trends in Korean dance culture, ‘community dance projects’ and TV show Dancing 9 , dealing with their public audiences. Through the article, we examine how participants of each culture communicate each other in order to suggest community dance projects as popular culture and Dancing 9 as mass culture. This study could be standard idea toward popularity when choreographers and dancers seek for communication with public.

1960~70년대 한국의 대중사회화와 대중문화의 정치적 의미

송은영 상허학회 2011 상허학보 Vol.32 No.-

In modern Korean history, 1960s~1970s was the period when Korean society started to turn into a mass society. The mass media including newspaper, magazine, radio and television were organized institutionally in 1960s and the social system in which mass enjoyed popular culture was established systematically in 1970s. The Mass-Society Debate and the discourse on popular culture of intellectuals criticized the Korean mass because their enjoyment of popular culture contributed to justification of totalitarianism and compulsory mobilization of the dictatorship. But some literary texts captured diverse aspects that the mass stood against the ruling ideology in their enjoyment of popular culture. Literary texts written by Lee Chungjoon, Lee Hochul, Park Wanseo circuitously showed that the discourse denouncing the vulgar popular culture of TV, radio, weekly magazine was bourgeois male's strategy in order to regulate the social others like women, juvenile and the rabble. They also represented unconsciousness of mass. That's to say, the aspects that popular culture played roles in resisting the social purification discourse and in ridiculing the rigorism of social atmosphere. It showed that popular culture was not only an intermediation to make the mass express their political attitude but also a ordinary field where ruling stratum was fulfilled. The reason why popular culture in those days functioned as a resistance stemmed from that mass mentality was connected with unconscious rejection to social suppressive system. The political meaning of mass in 1960s~1970s was that they were places to show the unconsciously resistant attitude. 1960~70년대는 한국사회가 본격적으로 대중사회로 전화되는 시기다. 1960년대에 신문, 잡지, 라디오, TV 등 대중매체가 제도적으로 정비되기 시작하고, 1970년대에는 그 대중매체들을 통해 대중들이 대중문화를 향유하는 시스템이 정착되었다. 이 시기 지식인들의 대중사회 논쟁과 대중문화 담론들은, 대중들의 대중문화 향유가 단순한 오락거리에 심취함으로써 박정희 정권의 체제 유지와 국민 동원을 정당화시키는 기제라고 평가했다. 그러나 몇몇 문학텍스트들은 이러한 평가와 다르게 대중들이 대중문화를 수용하고 상품을 소비하는 가운데 의식적으로 당대의 지배 및 통제 이데올로기와 길항하는 모습을 포착하고 있다. 예컨대 이청준, 이호철, 박완서의 소설들은 TV, 라디오, 주간지 등 대중매체의 선정성과 저속성, 반지성적 경향을 비난하는 당시의 대중문화 담론들이 여성, 청소년, 하층민 등 사회적 타자들을 통제하기 위한 중산층 남성들의 지배전략이었음을 보여준다. 그리고 텍스트들은 대중들이 스스로도 뚜렷하게 의식하지 못했던 무의식의 영역을 포착하고 있는데, 그것은 대중문화가 사회정화 담론에 저항하는 풍기문란과 엄숙주의적 공포분위기를 웃음으로 조롱하는 체제모독의 역할을 부분적으로 수행했음을 보여준다. TV 코미디와 대중가요를 비롯한 이 시기 대중문화가 저항적 의미를 가질 수 있었던 것은, 대중문화의 내용 자체가 저항적이었다기보다는, 그것을 수용하고 향유하는 대중들의 심리가 체제에 대한 무의식적 저항심리와 결부되어 있었기 때문이다. 당시의 대중문화는 대중들이 스스로도 뚜렷하게 의식하지 못했던 무의식의 영역, 즉 억압적 사회체제를 공고화시키는 사회정화 담론과 반공 이데올로기, 엄숙주의적 통제논리를 조롱하거나 거부하고 싶었던 심리를, 유쾌한 웃음과 오락적 유희 등을 통해 표현할 수 있게 해준 것이다. 이는 국가의 지배이데올로기나 지식인의 획일적 담론으로 환원되지 않는 1960~70년대 대중과 대중문화의 정치적 의미이다. 대중문화를 향유하는 대중이야말로 사회의 지배이데올로기와 저항적 무의식이 교차하는 장소이자 대중문화의 정치적 의미를 좌우하는 척도였다고 할 수 있다.

Cultural Change and mass communication of the application

김정선 ( Jung Sun Kim ) 아시아.유럽미래학회 2011 유라시아연구 Vol.8 No.4

현대사회는 디지털 매스 미디어 발전에 따라 정보사회의 완성을 향해가는 기술 문화적 흐름, 그리고 문화적, 인적 자원이 국제적인 차원에서 활발히 교류되면서 채화되어 가고 있는 글로벌리즘적인 경향을 들 수 있다. 이러한 흐름은 개방적이며 다양성이 존재하는 사회, 수평적인 의사소통 체계와 참여, 탈권위적 질서와 민주적 문화 향유를 향한 변화를 자극하고 있다. 이러한 문화변화의 노정에서 문화의 다양성 담론은 현대사회의 트렌드를 설명하는 대표적인 표현들이라 할 수 있다. 매스 미디어가 무한정 증가함으로써 문화적 표현의 장이 확장되고 쌍방향적 커뮤니케이션 기술발전으로 문화 주체와 대상의 구분을 희석되면서 다양한 문화적 활동과 참여가 가능해졌다. 이로 인해 문화의 다양성에 대한 논의와 연구 정책적 방향 등에 관한 제언들이 활달하게 표출되고 있다. 본 연구는 디지털 매스 미디어 환경의 변화에 따른 문화의 다양성의 논의 들을 재정립 하고 문화 다양성의 실태 및 디지털 환경에 따른 변화의 가능성들을 진단함으로써 바람직한 대중매체가 문화변천에 있어서 올바른 방향을 제시하고자 하는데 목적을 두고 있다. 따라서 본 논고의 구조적인 내용은 다음과 같다. 현대 대중문화 변화에서 기술융합과 문화적 다양성의 영향관계를 파악한다는 것은 단순히 미디어를 이제 하나의 IT트렌드이자 현실 문화적 다양성의 흐름에 영향을 미치는 절대적인 환경 변수를 보는 시각을 넘어선다. 오히려 미디어 소비자들과 이용자들이 자유롭게 만들어내는 다양성의 문화변화들이 역으로 미디어 융합과 재매개(remediation)등을 총매하는 변수로 작동하기도 한다. 즉 이용자들이 새로운 문화 패턴과 양식들이 기술 진화와 융합의 방향에 다시 영향을 미치기도 한다. 이는 문화변화와 대중매체인 응용 미디어 융합과 이용자의 문화적 다양성이 일방의 관계가 아닌 상호 공존의 관계이자 상생의 관계임을 뜻한다. 디지털의 기술적 측면과 더불어 미디어 융합과 사화관계의 변화 또한 문화 다양성의 중요한 환경이 되고 있다. 융합에 따른 문화소비 구조와 문화가치 창출 방식의 변화는 다양한 문화 활동의 토대라 할 수 있다. 사실상, 미디어 융합이 사회, 문화적으로 미치는 영향은 사회적 관계, 문화적 활동, 산업 및 서비스, 그리고 사회의사 결정, 소비자의 능동성 등과 같이 다양한 차원에서 동시에 진행하고 있다. 근대 과학 기술의 고도 발전으로, 세계의 거리는 이미 단축되었다. 어느 민족, 사회가 폐쇄성을 유지하기에는 이미 불가능해져, 접촉 증가에 따라, 많은 문화 변천상의 문제가 발생했다. 이러한 문제의 발생 원인은 서양 강세 문명이 종종 수용자의 각 차이점을 존중하지 않았고, 자신의 관점으로 남의 문화를 비판했으며, 변화를 강행하고자 하여, ‘관습과 규칙’에 의할 수 없었다. 그래서 저항이 생겨나고, 심지어 비극이 벌어졌다. 반면에, 한 민족, 사회가 문화 변천하고 있어서, 각각 문화, 사회, 개인 세 가지 체계가 교차해서 생성된 문화 변용의 기준이 있다. 다른 외래문화를 거른다. 이 체가 비록 본래 문화 체계가 잠깐의 붕괴를 면했다고 할지라도 본래 문화의 성장을 막았다. 어느 시대와 사회를 막론하고 문화 변천은 피할 수 없기 때문에, 유일하게 도전을 받아들여야, 본래 문화는 재생할 수 있다. 그렇지 않으면, 시간이 지날수록 점점 쇠퇴할 것이다. 많은 고문화가 지금 옛날의 영광을 회복하지 못하며, 문화적 도전을 당면할 수 없는데, 이것도 주요 원인 중의 하나이다. 문화 변용 과정 중에 제일 중요한 것은 ‘사람’이다. 그래서 민족이 각 방면에서 균형 발전을 해야 하며, 꼭 사람의 요소를 소홀히 하는 것은 아니다. 역시 우선적으로 ‘사람’을 변화시켜야 한다. 대중 매체는 이 방면에서 마치 상당히 많은 도움을 제공되는 것처럼 보인다. 특히 오늘 대중 매체의 효력은 우리에게 이미 어느 정도의 통제가 가능하고, 더 편리해져 문화 변천의 협조에 유리하다. 그러나 대중 매체의 역량은 만능이 아니며, 그의 효과적 발휘는 다른 요소 조화가 필수다. 그래서 변화 계획을 실시하기 전에, 먼저 지방의 문화적 배경을 살피고, 사회 구조 등 한 차례 변화를 이해하고 나서, 어려운 순서를 적당한 한도 내에서 결정하여, 지역 개혁을 조리 있게 계획을 진행한다. 이렇게 해서, 대중 매체는 문화 변천 진행 협조에 전력을 다하게 된다. 동시에 문화 변용의 빈번함은 문화 간의 유사성을 증가해 국제 문화의 출현도 학수고대할 수 있다. 기술 전파가 비록 사회 문화에 영향을 주지만, 그 발달의 선제 조건은 지금도 사회와 개인의 문화 요구이다. 지금 국민의 시야는 기술의 기능과 기술면의 차원에 보편적으로 집중하고 있고, 금전과 기술의 성과는 즐거움과 편리를 가져다준다. 기술의 발전의 필연적 추세지만, 아무튼 득실이 있고, 자세히 보면, 개인과 사회는 그가 어떻게 올바른 방향으로 이끌지 알려 준다. 정부는 통합TV제도, 정책, 법규, 집행 등 각 층에 대한 문제는 더 넓은 각도가 적절하고, 미리 주도면밀하고 철저한 계획을 세운다. 뉴스의 각도에서 관찰하면, 지금 국내 사회는 정면으로 빠르게 전환기를 맞고 있으며, 이 시기에 모두 시야를 열어, 편안한 마음으로 현황과 미래를 향한다. 마침 기술 전파가 사회, 문화의 영향으로 깊이 논의되는 최고의 시기이다. 말하자면, 융합문화 형식의 표현이자, 문화생활의 의뢰이다. 우리는 미래에 더 많은 학자, 전문가가 올 것이라고 전망한다. 기술 전파와 사회, 문화 변천 문제에 대해 더 많은 열정과 관심을 쏟아, TV매체로 하여금 융합문화가 보편적이고, 전면적이며, 지속적인 채찍 하에, 폭넓고 유익한 의견을 받아들여, 더 높은 차원의 가치로 안내할 것이다. The advances of modern science and technology developments, the world`s distance have been reduced already. Any nations, any societies had already be impossible to maintain its images of a closed; according to the increase of a contract, that is a problem with a lot of cultural changes. The causes of these problems is strengthen the Western civilization, which is often did not respect the differences of accepters, criticize of other cultures in points of themselves; and could not obey for `customs and rules` to enforce a changing. So, the resistance has generated, and even there had been a tragedy. On the other hand, one nations and one societies going on cultural changes; it have a standard of acculturation what three systems-culture, society and individuals has intersected and producted. Filter the other cultures. Although this sieve original culture system has escaped a collapse of minutes, but it was blocked the growth of original culture. Whether any ages and any societies, the cultural changes is inevitable; it should be accept the challenge, the original culture can be refresh. Or, as time passes, it would be fell away by degrees. Nowadays, many ancient cultures does not restore the glory of the past, and it cannot face the cultural challenges, which is one of the major causes. A most important in the process of acculturation is `human`. Therefore, the nations must have balanced development in all quarters; it is not really neglects the element of human. That also should be changed the ‘human’ at first. Mass communication is seems to provide a lot of helps fairly in this line. In particular, today, the effect of mass communication is available to some control for us already, and more convenient, so that is favorable for us to assistance of cultural changes. But, the power of mass communication is not universal, and its effective display is necessary to harmony of other elements. Thus, before make to changing plans, first, they look at the cultural background of this region, and understand the changing (a society system) at once, and decide in a proper measure to difficult order, and progress to regional reform plan coherently. Thus, mass communication is to be go all out to assistance of cultural changing progress. At the same time, the frequence of acculturation is increase to similarity between the cultures, and appearance of international culture is look forward to do. Although the propagation of technology have influence on society and culture, however, the start condition of this development, even now, is a cultural demand of society and individuals. Nowaday, the eye of people generally focusing on function and level of technology; a results of finance and technology brings the pleasure and convenience. The development of technology is an inevitable result, but, its have merits and demerits at any rate; have a good look at this, the individuals and society tells what is how to lead to right way. The government`s problems about each level-United Television System, policies, regulations, enforcement and so on, its angle should be more enlarge appropriately; its makes on thorough plan carefully in advance. The viewing in angle of news, nowaday, the local community is greeting a turning point in front of fast, at this time, everyone opens their eyes, and goes to the present situation and future in a tranquil heart. Just in time, the propagation of technology deeply is discussed on influence of society and culture; what is best chance. That is, so to speak, the expression of cultural types and commission of modern life. We predicts that more scholars and experts will be come in the future. About the problems of the propagation of technology, society and cultural changes, we would be this view: which have a lot of passions and attentions, make TV media tell ‘culture is general and overall’; under the continuos whipping, accept a broad and instructive comments, and guide as a function of the higher level. As a nation, society and cultural changes in each of its by the cultural, social and personal acculturation three interwoven system baseline, not foreign cultural filter, although this screen can protect itself from even the collapse of the cultural system, but also hindered the growth of their own culture. Because regardless of any age and social and cultural change is inevitable, the only challenge to the regeneration of their own culture, otherwise it will gradually decline. Many ancient cultures are unable to restore its former glory, can not face the challenge of culture may be one of the main. First, there are plans to pay attention to changes in power, including psychological and social factors in order to explore the true will of people to change. Second, the change should be compatible with local cultural content, that is to change the first three baseline screening through acculturation mouth. Third, the dissemination of the contents to be transmitted does object, the object is to figure out, for the dissemination of the contents of the object design, in order to improve the dissemination of results. Fourth, the mode of transmission to take two-way communication, two-way communication is the most valuable response, according to the modified objects spread dissemination of the contents of the response came back, naturally you can achieve maximum effect. Fifth, repeat, trust and attention, these are highlighted in persuasive communication theory. Sixth, demonstration, promotion of new things or reform model is easier to enhance memory, and can teach people to teach methods of field operations, reduce the use of time. Seventh, training, mass media should provide people the opportunity to practice, to deepen the impression of learning and interest.

The Method Research for Analyzing Contemporary Fashion Phenomena - Focused on Mass Culture Theory -

Kim, Seo-Youn,Park, Kil-Soon The Costume Culture Association 2001 Fashion, industry and education Vol.4 No.3

Re purpose of this study is to indicate the framework to analyze the contemporary fashion phenomena taking on aspect as above by grafting the mass culture theory onto the study for fashion phenomena. The contemporary culture phenomena look like a same thing apparently, but various individual characters appeared in them. And all cultures are mixed in the name of mass culture, but the subordinate concepts which can classify the culture are still in existence. And this equally appear in the contemporary fashion, one of culture phenomena. The concept of the contemporary mass culture can be explained with the taste culture, Cans' theory indicated, divided into highbrow culture, middlebrow culture, and lowbrow culture. And the phenomena of the contemporary mass culture also can be explained with globalization that came down to homogenization, regionalization hybridization.

한·일 대중문화(영화)에 나타난 국가주의 비판의 이중성

최성실(Choi Sung Shil) 가천대학교 아시아문화연구소 2005 아시아문화연구 Vol.9 No.-

There is the problem to solve at historical dimension between Korea and Japan. This problem may be the subject to be solved first in popular culture of the both countires and in the dimension of the masses culture exchange of East-Asia. The mass culture exchange to jumping on at Western Europe capitalism logic without to solve a essential problem which have been inhered at popular culture that nationalism, racism to make discrimination and distinction has many possibility that East-Asia culture discourse distorts and restores to the unhistorical thing. If the mass culture exchange flatters simply at a mass psychology. The regiment possible of the counter discourse about the survival and Human right of the citizen will disappear gradually. From now on the confusion of East-Asia of cultural Identity will be accelerated gradually. Cultural identity to be shaken may become the opportunity to recognize East-Asia culture newly. The marketing of popular culture which jump on the Korea wave phenomena must not access therefore in the dimension of a commerce strategy. The thing which the masses culture industry have been based thoroughly on a commerce attention and capitalism logic is true. It can fall easily to the tool of a control ideology. The distinction does not become any purpose if a product concept is introduced at the cultrue. The purpose resolves rapidly to a quantity value and the activity mode of various culture is to lose original internal content. We must restore the voice of the minority to be restraining in East-Asia culture. To make the voice of the neighbors coexits with the center is therefore for popular culture. The popular culture of East-Asia must exist as a difference different from popular culture of Western Europe. The popular culture of East-Asia is the facing subject to coexist as sublate the pribvilege with the popular culture of Western Europe. Hollywood is not the index of a modern popular culture to follow but only a culture object which coexists to the difference. In popular East-Asia culture exchange, the reason why the reason must be interested in the voice of the neighbors is here.

근대적 대중의 형성과 문화의 전환

유선영(Sun-young YOO) 사단법인 언론과 사회 2009 언론과 사회 Vol.17 No.1

이 연구는 한국의 근대 대중의 형성과정을 조선후기에 부상, 지배적으로 된 세속적이고 도시적인 통속문화 그리고 19세기 말 문호개방 이후의 대중문화와의 관련 속에서 고찰하였다. 통속문화에서 대중문화로의 전환은 곧 통속적 취향이 식민적 근대화 과정에서 문화적 지배력과 시민권을 잃고 국부화, 특수화되어가는 과정이며 이러한 문화전환과 대중의 내적 속성변화는 근대화에 따른 보편적 문화변동과정으로 보이지만 실제는 그보다 복잡하고 다층적인 요인들의 절합이 작용했다. 통속문화가 대중문화로 대체, 전환되는 과정은 식민지 지배세력의 교체를 통해 지배를 완성하고자 한 일제와 식민지의 신흥 엘리트층으로 급부상한 근대 지식층의 적극적 개입에 의해 역동적으로 전개되었다. 대중문화로의 전환과 이행은 불확실하고 모호한 근대성을 기준으로 이뤄진 선택의 과정이었고 유동적이고 양가적이며 불안정한 집합적 욕망의 소산이었다. This study attempts to reconstitute a trajectory of formation and reformation of masses in Korea since the 18th century when a certain popular cultural forms emerged and became dominant. Aesthetics and attributes of newly emerged popular culture in the 18th century is obviously different from those of cultural fonns that had been affiliated with both high and low classes, that is, court culture and folk culture. The characteristics of the new popular culture are that it is the middle gentry class that created, sponsored, consumed and circulated it over Korean society, that is a secularized fonn of the high culture of the noble class, and that appealed to inhabitants living in urban area by its modernity and urbanity. Bourgeois, petit-bourgeois, gentry class, merchants, self-employed businesses, laymen and even noble class had enjoyed the newly emerged popular culture which reflects cultural aesthetics and daily lives of urbanites. I argue that they must be discussed as a prototype modern masses and then got being replaced, transformed and marginal with the introduction of mass culture since the late 19th century. Mass cultural fonns such as film, theatre, variety show, circus, acrobats, popular song, and modern style dance were introduced and soon occupied cultural spaces of the colonial cities. While mass cultural genres and products were staged on theatres, the old-type popular culture genres became marginal. At the same time, the early masses was attacked and denounced as having vulgar and mean taste which was originated from the old regime. Not only Japanese but nationalist intellectuals learned and educated in modern knowledge deprived the early masses of their cultural citizenship and went further to stigmatize them as useless and immoral debauchee. Meanwhile, modern intellectuals represented foreign films, modern sports, public parks, modern amusements such as cafe, bar and theatre as constituencies of modern civilization. I focused on theatres as a modern space in which films, variety shows and performances, plays and even speeches by public figures were acted out. Through consuming cultural artifacts performed on stage of theatres, Korean masses could be reconstituted and transformed in ways to be modernized. Intellectuals actively intervened in a process of cultural transformation by writing essays and reports on films, theatres, and urban modernities in general, largely thanks to that they worked for Journalism in a status of temporary contributor as well as regular journalist. It became obvious that those who had not been furnished with modern knowledge, education, experiences and competence of languages like Japanese and English could not consume nor enjoy talkie movies, modern plays, and diverse theatrical shows. They had kept their longtime cultural taste of the early popular culture until the late 1930s. I tried to show that transition to the modern cannot be said as a change toward getting universality. Rather it is a movement directed by collective desires of a group of peoples in power in the historical moment, when modernity was sought in a state of vagueness, ambiguity and uncertainty that are characteristic in a society in transition under colonial condition.