대중문화와 세대: 대중문화에 대한 인식을 중심으로

김수정 ( Su Jung Kim ),최슬기 ( Seul Ki Chol ),최샛별 ( Set Byol Chol ) 국민대학교 사회과학연구소 2014 社會科學硏究 Vol.27 No.1

본 연구는 현대 한국 사회에서 점차 그 영향력을 확대해 가고 있는 대중문화가 세대간 단절과 갈등의 장(場)이 될 수 있음에도 불구하고, 아직까지 대중문화 영역에서 나타나는 세대 간 차이를 살펴본 연구가 부재하다는 점에 주목하여, 대중문화와 관련된 다양한 사안들에서 나타나는 세대별 인식 차이를 살펴보고자 하였다. 이를 위해 본 연구에서 는 2011년 <세대간 문화 경험과 문화 갈등> 연구단이 전국의 성인 남녀 1,500명을 대상으로 실시한 ‘세대별 문화경험과 문화인식에 관한 조사’ 자료 중 대중문화에 대한 생각을 묻는 문항을 분석하였다. 크게 ‘한국 대중문화의 긍정적 영향력’, ‘한국 대중문화의 부정적 영향력’, ‘대중문화의 향유층과 사회적 필요성’, 그리고 ‘외국 대중문화에 대한 인식’으로 구분된 총 15개 항목에 대해 10세 간격으로 구분한 연령대별 일원배치분산분석을 실시하였으며, 그 결과 대중문화에 대한 한국인의 인식은 세대에 따라 20대, 3, 40대, 50대, 그리고 6, 70대로 구분되어 나타남을 확인하였다. 본 연구는 전국 규모의 양적 자료를 분석하여 대중문화 영역이 정치, 경제, 사회 영역과 함께 중요한 세대 구분의 장이 될 수 있음을 보여주었으며, 또한 대중문화에 대한 세대별 인식 차이가 단순히 젊은 세대와 기성세대 간의 대립구도 혹은 연령이 높아질수록 점차 부정적인 양상을 보일 것이라는 기존의 가정들과 대치되는 결과를 보여주었다는 점에서 의의를 갖는다. Popular culture, becoming increasingly influential in South Korean society, can be a place of generational gap and conflict. Yet, there is a dearth of studies that examine the generational differences in the area of popular culture. This study attempts to examine the generational differences in various popular culture-related matters. For this, this study analyzed the questions about opinions on popular culture in the data from ‘Investigation on Generational Cultural Experience and Cultural Conflict,`` drawn from 1,500 male and female adults across Korea, executed in 2011 by the Generational Cultural Experience and Cultural Conflict Research Group. A one-way analysis of variance (ANOVA) was conducted to analyze a total of 15 questions, including ‘positive influence of Korean popular culture,`` ‘negative influence of Korean popular culture,`` ‘consumers and necessity of popular culture,`` and ‘awareness on foreign popular culture.`` The result showed that South Korean`` awareness of popular culture is manifested as a generational diversity according to people in their 20s, 30-40s, 50s and 60-70s. Through an analysis of nationwide quantitative data, this study shows that the realm of popular culture can be an important place of generational differentiation along with politics, economy and society. Also, it is meaningful in that this study presents a contradictory result from the previous assumptions that saw the differences in the generational awareness of popular culture as merely an opposite composition or that predicted one would have a negative awareness of popular culture as one gets older.

피스크의 문화적 대중주의에 대한 재고

신혜경 한국미학회 2002 美學 Vol.32 No.-

In this paper, I tried to examine the cultural populism of John Fiske, focusing on his main text Understanding Popular Culture and Television Culture. Recently, the somewhat oppositional standpoints about Fiske's cultural populism is represented among the korean left-wing theorists. Some criticize it, claiming that it falls into uncritical populism corresponding to laissez-faire conceptions of consumer sovereignty. For example, Kang Nae-Heui insists that the cultural populism approves the capitalist dominant culture and it is unconcerned about people's pursuits of the multiple ways of life. On the contrary, others defend it, suggesting that the cultural studies should reconstitute the cultural populism in order to activate people's multiple aesthetic attitudes to the utmost. Lee Dong-Yeon argues that the cultural populism could align itself with the minority's cultures inevitably. Therefore, under this circumstances the reappraisal of Fiske's cultural populism should be required. This paper consists of four chapters, as follows. Chapter 1: The historical context - Mapping the place of Fiske's theoretical status in the whole history of cultural studies. Chapter 2: The definition of the popular and the popular culture. Chapter 3: The popular pleasure and the popular discrimination. Chapter 4: The micro-politics of the popular culture. In ch.1, the birth of cultural populism is sketched in the context of new revisionism. New revisionism is characterized by the hermeneutic models of consumption, resulting in the shift from political aesthetics to popular aesthetics. This emphasis on the active consumptions of audiences rejects the main ideas derived from Althusser's theory of subject and ideology. Thus, the whole tradition of 'subject positioning theory' is called into question. Researchers turn their attention away from the ideological power of text and toward the individual pleasures and interpretive freedom of readers. Tudor identifies two different, but closely-related ways in this new direction, i. e. 'audience ethnography' and 'cultural populism'. And it is Fiske who is depicted as a Godfather of this kind of cultural study. In ch.2 & ch.3, brief introduction of Fiske's theory is offered. According to him, the popular is "a shifting set of social allegiances formed by social agents within a social terrain that is theirs only by virtue of their constant refusal to cede it to the imperialism of the powerful." Instead of the theories of subjectivity, he asserts those of the nomadic subjectivity which envision the social agent as moving among various subject positions. The activity of such agency is not that of voluntarism or free will, but is social in that it is the core experience of the subordinate in elaborated, capitalist societies. The people can turn cultural commodities to their own interests and find pleasure, in using them to make their own meanings of their social identities and social relations. For Fiske, the popular culture is to be found in its practices, its uses, its consumptions, not in its texts or their readers. Therefore he argues that all popular culture is a process of struggle or antagonism. "There can be no popular dominant culture, for popular culture is formed always in reactions to, and never as part of, the forces of domination." In ch.4, I explain the micro-politics of popular culture. Fiske distinguishes between the macro-politics and the micro-politics, between the radical political movements and the progressive popular cultures. On the one side; forces of dominances, processes of incorporation, insidious practices of dominant ideology. On the other side; tactics for coping, vitality and creativity, everyday resistance and evasion. In this respect, we can find easily Foucault's legacy in Fiske's terrain. Fiske argues that the social order, as Foucault analyzes it, depends on the control of people's bodies and behaviors. In other words, the struggle for control is waged on the material terrain of the body and its immediate context. So the culture of everyday life is a culture of concrete practices which embody and perform differences. This is the very sites of popular culture. In conclusion, I examine some assessments of Fiske's cultural populism. Thereby, I hope illuminate the present lessons from the critical insights of it. First of all, themes of audience empowerment, popular pleasure and everyday resistances in Fiske's theory play the role to correct the former 'pessimistic reductionism' of cultural studies. But Fiske's corrective is nothing but return to the opposed position against it. The same dualistic framework is remained unchanged. What is crucial is not an insistences on micro-meaning and popular pleasure against macro-structure and constraint, but an attempt to rethink the form relation between these two in non-reductive and non-dualistic terms. Moreover, Pleasure is neither innocent nor progressive in itself. Pleasure and resistance cannot be valorized per se as progressive elements of the consumption of cultural resources. Likewise, the mere valorization of difference as a mark of opposition can simply help the free market ideology in the new liberalism. Therefore, the minority-culture movement aligned this kind of cultural populism, explicitly or implicitly, is required more careful examinations.

대중문화의 시각문화교육적 이해와 접근

연혜경(Yeon, Hye Kyung) 한국미술교육학회 2009 美術敎育論叢 Vol.23 No.3

대중문화는 현대 사회를 이해하는 핵심어로서 대중매체에 의해서 대량생산, 유통, 소비되는 현대의 문화적 환경이다. 대중문화는 우리의 일상생활 전반에 걸쳐 스며들어있어 우리의 정서와 사고, 행위 양식에 영향을 준다. 본 연구는 대중문화의 이러한 점에 주목하여 시각문화 교육에서의 대중문화 교육을 미술교육의 전환적 차원에서 논의하였다. 정체성이 형성되는 시기에 있는 청소년에게 대중문화는 정서적 교감으로 생활의 변화를 주는 오락거리인 동신에 자신을 돌아보고 또래와 관계를 형성하고 자신을 표현하는 매개체이다. 시각문화교육에서 대중문화 교육의 목적은 청소년이 대중문화의 수동적 소비자가 능동적 의미 해석자가 됨으로서 자신의 삶에서 주체가 되도록 하는 것이다. 이러한 목적을 위한 이론탐색으로서 연구자는 대중문화의 특성과 이해를 학습자로서 청소년과 미적체험의 관점에서 살펴보았다. 그래서 청소년은 대중문화의 능동적 의미해석자로 제시하고 대중문화의 미적체험은 일상적 삶의 예술화라는 듀이의 관점과 정서적 체험으로서 소비행위와 놀이의 관점에서 살펴보았다. 결론적으로 시각문화교육으로서 대중문화 교육의 방향과 의미에 대해서 논의하였다. Popular culture is the mass production, distribution, and consumption of the art of the mass through the popular media, and is a key to understanding the modern society. It permeates through our everyday lives, governing our thoughts, emotions, and behavior. This study, by focusing on these factors of popular culture, aims to discuss a revolutionary approach in art education through popular culture education. To adolescents during their phase of self-identity development, popular culture serves both as a means of entertainment that brings about transformation through emotional interaction and a channel to develop relationships with peers, and to reflect upon and express self. The direction that popular culture education should take from the standpoint of visual culture education is to assist adolescents to make the transformation from a passive consumer of popular culture to an active interpreter of the implication of popular culture. In a theoretical search to this end, this study defines the characteristics of popular culture as replicable, everyday, commercial, and emotional experience and provides the understanding of popular culture from a critical, receptive, and cultural research standpoint. The study also explores the prospect of adolescents as an active interpreter of popular culture from the art education perspective by observing consumer behavior and entertainment activities, and discussed the significance of popular culture education in visual culture education.

대중문화의 이해와 비평 그리고 소통 -기독교적 대중문화 비평의 관점에서-

신응철 ( Eung Chol Shin ) 한국해석학회 2006 해석학연구 Vol.18 No.-

What is a Culture in Human life? Especially, What is the Popular Culture? In terms of this question, there are various ways of understanding and criticism of Popular Culture In my opinion. This article aims to suggest an way of understanding and criticism of Popular Culture, namely, the Criticism of Christian Popular Culture. In order to this purpose, we will deal with the Theory of Popular Society. So far it did not introduced to the scope of the Philosophy of Culture and the Criticism of Culture. And I will discuss Romanowski`s the Criticism of Christian Popular Culture in this paper. It is presupposed with Christian World view point. Through this discussion, we will identify that corruption and distortion of our Popular Culture bring into the Human guilt and disruption. That is the basic view point about the Criticism of Christian Popular Culture.

한국어 학습자를 위한 대중문화 교육 방안 탐색 -드라마 <이태원 클라쓰>를 중심으로-

전하나 부산외국어대학교 다문화연구소 2024 다문화사회와 교육연구 Vol.16 No.-

Recently, with the development of Korean popular culture, the number of Korean language learners has also increased, and accordingly, many studies are being conducted on ways to educate Korean culture through popular culture. Many researchers were interested in popular culture education and proposed educational methods, but because they generally only conducted one-off studies, it was difficult to consider and systematically plan the direction of popular culture education. Therefore, in this paper, I designed a concrete plan for cultural education through movies and dramas among popular culture genres and attempted to infer the direction of popular culture education based on the results. First, based on the contents of previous studies, the principles of the class were set as ‘learner participation class’ and ‘co-construction’ between a teacher and learners, and a specific plan for cultural education using the drama <Itaewon Class> was presented. The overall structure of the class can be briefly summarized as ‘selecting a popular culture text, finding cultural codes, and analyzing and evaluating cultural context’, and it was suggested that this process can become a large framework for popular culture education. Above all, it is most important to encourage learners’ participation throughout the entire course of class. In conclusion, it can be expected that learners will not only enjoy popular culture, but will also be able to satisfy their needs for cultural knowledge and improve their ability to understand other cultures through popular culture education.

국어교육과 문화교육 ; 대중문화의 국어교육적 의의

노은희 ( Eun Hee Noh ) 국어교육학회 2002 國語敎育學硏究 Vol.15 No.-

대중문화에서의 미적 체험과 학습 : 대중문화에 대해 '아름다움'을 말할 수 있는가?

김성일 한국문화교육학회 2008 문화예술교육연구 Vol.3 No.2

'문화란 무엇인가?'라는 질문에 대해 다양한 논의들이 있어왔지만, 그중 리비스주의로 대표되는 문화엘리트주의는 대중문화에 대한 고정관념을 갖게 한 대표적 입장이다. 하지만 문화는 당대 대중이 집합적으로 공유한 생활양식이라 할 수 있다. 문화가 대중의 살아있는 경험으로서의 총체적인 삶의 방식이라 할 때, 대중문화 역시 새롭게 정의될 수 있다. 즉, 대중문화는 대중의 일상 속에서 산업생산의 방식으로, 사회적 힘으로, 정치적 효과와 문화적 권력의 형태로 실재한다. 이러한 대중문화에 대한 인식의 전환 속에서 대중문화의 미학을 구성하는 일은 새로운 과제가 된다. 그것은 대중문화의 다양한 장르와 대상을 관통하는 보편적 특성을 찾아내고, 그 특성이 갖는 의미를 새롭게 구성하는 일에서 시작할 수 있다. 문제는 대중문화 속에서 (미학의 관점에서 바라보았던) 예술이라 부를 수 있는 요소나 특성을 발견하는 것이 아니라, 대중문화 고유의 '아름다움'을 발견하고 그것이 갖는 의미를 새롭게 이해하는 일이다. 대중문화에 대한 미학적 접근이 가능할 수 있는 공통분모는 '살아진 경험'과 '대중성' 그리고 '욕망의 투사'와 '문화정치' 속에서 찾을 수 있다. 이로부터 배태된 즐거움, 모방, 통속성, 현실도피, 유행 같은 속성들은 대중문화의 미학코드로 새롭게 설정될 수 있다. 빈티지 패션은 싸구려 원단이나 제봉기술의 부족 때문에 생긴 것이 아니다. 흠집과 얼룩 자체가 하나의 의미를 발산한다고 할 때, 대중문화의 미학코드들 역시 소소한 삶의 소재들을 대중문화이게 만드는 의미들을 끊임없이 생산하고 있다. Among the many discourses related to the question: "what is culture?" it is cultural elitism, represented by Leavism, that have forced us to conceive a fixed idea that it is popular culture that is more dominative. Nevertheless, culture can be regarded as the lifestyle which is collectively shared by the people. When we consider culture as a total lifestyle, which derives from the living experiences of the populace, then popular culture can also be redefined. Popular culture exists in various forms: industrial production, social power, political effects and cultural power, and all of these are melted into the every day life of the people. In this redefining of popular culture, one must reconsider what constitutes the aesthetics of popular culture. One can begin by searching for certain universal characteristics amongst the diverse genres and objects of popular culture, and thus reconstructing the meanings of those characteristics. One is not only searching for characteristics which can be seen as 'Arts' in an aesthetic view, but for an understanding of a new virtue, the unique 'beauty' of popular culture. The common dominators which enable an aesthetic approach towards popular culture can be regarded as 'lived experience', 'popularity', 'projection of desire', and 'cultural politics'. In this way pleasure, imitation, popularity, escapism, and fashion can create new aesthetic codes of popular culture. Vintage fashion has not been created by the cheap fabrics or lack of cutting skills. As scratches or stains in vintage fashion can themselves radiate a unique meaning, the aesthetic codes of popular culture also continuously produce new meanings that can transform everyday trifles in ordinary life into the popular culture.

기독교 전도와 대중문화 : 패러디, 패스티쉬, 그리고 시뮬라시옹

이민형 한국실천신학회 2017 신학과 실천 Vol.0 No.54

20세기 후반, 한국 교회는 21세기에 들어 사람들에게 가장 영향력을 미칠 요소로 문화를 꼽았다. 미래 한국 사회에서의 문화의 중요성을 깨달은 한국 교회는 기독교 전도와 선교를 문화적으로 실천하는 방안에 대한 신학적 연구를 본격화했다. 동시에 다양한 문화적 전도 방법을 고안했다. 특히나 그들은 대중문화의 활용에 초점을 맞추었다. 이는 서구의 대형교회를 중심으로 발달한 구도자 예배와 같은 대중문화의 교회 내 활용과 맥을 같이 한다. 실제로 서구의 구도자 예배와 같은 문화적 적용은 많은 사람들이 즐기는 대중문화야 말로 기독교인들과 비기독교인들 사이에 자연스러운 연계를 만들 수 있음을 보여주었다. 따라서 한국 교회는 구도자 예배나 CCM의 예를 따라 대중문화를 교회 안으로 가져와 구도자 예배나 기독교 전도를 목적으로 활용하기 시작했다. 이러한 교회 내 대중문화 활용의 특징은 비기독교인들이 즐기는 영화, 연극, 음악과 같은 다양한 대중문화적 요소를 이용하여 사람들을 모으고 그들이 교회를 긍정적으로 보도록 하는 것에 목적을 둔다는 것이었다. 한국 교회 내 대중문화 활용의 비중이 증가하면서 상당수의 교회에서는 사람들이 즐기는 대중문화 컨텐츠를 모방한 기독교 전도 매체를 만들어내기 시작했다. 다수의 사람들이 즐기는 대중문화 컨텐츠를 적절히 수정하여 새로운 컨텐츠로 제시한다는 점에서 이는 사람들의 관심을 끌기에 효과적이었다. 하지만, 대중문화를 모방한 전도 매체에 대한 신학적 연구는 아직까지 그 수가 미비하다. 따라서, 본 연구는 한국 기독교계에서 대중문화의 모방물들이 어느 정도로 영향력이 있는 기독교 전도 매체로 쓰일 수 있는 지를 기독교 전도학의 관점에서 살펴볼 것이다. 무엇보다 본 논문은 이러한 모방 매체가 기독교와 대중문화를 새로운 문화적 형태로 혼합한 창조적인 산물임을 전제로 한다. 특히나, ‘패러디’라는 독특한 예술 양식이 기독교 전도와 대중문화라는 두 문화를 연계하고 있는 바, 이를 신학적으로 그리고 미학적으로 분석하는 것을 본 연구의 주목적으로 한다. 더불어 한국 교회 내에서 이러한 매체가 어떻게 전도의 방편으로 사용되고 있는지를 살펴봄으로써 기독교 전도와 대중문화의 관계에 대한 지속적인 연구를 위한 기초를 제시하려 한다. Since the end of 20th century, Korean churches have awakened to the fact that what would affect people, including Christians and non-Christians, mostly in the new century would be culture, cultural products, and culture making. The acknowledgment of the importance of culture in the future Korean society led Korean churches into the theological discussions on how to practice Christian evangelism and mission culturally. At the same time, Korean churches developed various cultural practices of Christian evangelism. In particular, they focused on the utilization of popular culture within the church setting. In a way that is parallel to the seeker-sensitive evangelistic approaches of mega-churches in the United States and elsewhere, popular culture became very important for Korean Christian congregations because it was enjoyed by a large segment of the population and thus provided a natural bridge between Christians and non-Christians. Therefore, Korean churches began to bring popular culture into the church and utilize it for the sake of Christian evangelism especially relying on such practices as the seeker-sensitive worship service and contemporary Christian music. These Christian practices utilized popular cultural elements that non-Christians relish, such as movies, plays, and popular music styles, so that persons would turn to and look favorably on churches. Sooner or later, it developed into the practice that they created imitations of popular culture that both Christians and non-Christians relish as a way of demonstrating their evangelistic invitation to the world by appropriating popular culture. It is certainly true that insofar as an imitation directly presents slightly modified materials of particular features of popular culture, it is an effective means of attracting people’s attention. However, there has been limited numbers of theological studies on those evangelistic media which copied popular cultural contents. Therefore, this paper will study the extent to which parodies of popular culture play a role as a significant evangelistic approach in the context of Korea Christianity from the perspective of a theology of evangelism. My working hypothesis is that parody is a creative production that makes of Christianity and popular culture a new, culturally hybrid form. Since this particular practice encompasses Christian evangelism, popular culture, and the relationship of those two by a particular artistic technique, I will examine the approach both theologically and aesthetically studying its practical, theological role within the church setting. My study will explore the theological ramifications of cultural hybridity of popular culture for Christian witness, and propose theological basics for further researches on this topic.

20세기 후반 미국문학과 대중문화 대립과 타협

박인찬 ( In Chan Pak ) 영미문학연구회 2011 영미문학연구 Vol.21 No.-

The primary purpose of this paper is to study the relations between high culture and popular culture in the late 20th-century American literature. In the American context, popular culture has tended to be ambivalently regarded as the culture of ``people`` and the culture of ``mass.`` The former positively implies the equalitarian aspect of the culture for people in a democratic society who are ``many`` as opposed to ``a few,`` while the latter negatively does the culture manufactured for the homogenized crowd in free market. This ambivalent nature of popular culture has deeply to do with the democratic and capitalist nature of American society. Defining popular culture in the context of American society mentioned just above, this paper traces how the relations between high culture and popular culture have changed in the latter half of the twentieth century. In the 1950s when popular culture, or what Dwight Macdonald and J. D. Salinger called ``masscult`` and ``phony,`` respectively, began to rapidly permeate and dominate over the everyday life of people, many critics and writers threw severe criticisms and contempt for popular culture. In the sixties and after, however, those harsh perspectives began to switch into an attitude of compromise and dialogue, as shown off in the writings of Susan Sontag, Leslie Fiedler, and a series of novelists of the 1980s and 1990s, such as Kurt Vonnegut, Paul Auster, Cormac McCarthy and so on. Their novels are devoid of the high culture anger against mass culture and avant-guard`s subversive experiments as in the aborted works of Avant-Pop. Instead, as this paper argues, increasing affinity with popular culture defines those contemporary novels which are primarily marked by eclecticism between high/serious literature and popular literature.

레이먼드 윌리엄스의 이데올로기와 아도르노

김성중 한국영미어문학회 2008 영미어문학 Vol.- No.88

Raymond Williams's fundamental notion, "culture is ordinary," has been very influential to cultural studies. His idea is that literary works are treated under the illusion that they are superior to any other forms of culture, although literature is nothing but a part of culture. His attack against the values of taste and sensibility for assessing literary works has resulted in attributing to popular culture including film, TV, and advertising, the same value as high culture had. Despite the positive result of reconsidering the underestimated value of popular culture, he missed the fact that popular culture is not created by ordinary people themselves but rather by culture industry, which tries to produce as much profit as possible out of it. Theodor Adorno, however, differentiates culture from culture industry which tries to standardize culture in order to facilitate mass production. Standardization, according to him, brings the destruction of autonomy, spontaneity, and criticism that culture used to possess. As a result, culture industry, a distorted form of culture, manipulates people into doing and enjoying things that they would not like unless they were misled. For him, culture is like a work of art which resists against the status quo and unveils the reality distorted by the dominant ideology. In this sense, popular culture is not ordinary any more because that culture has already been distorted by standardization, and culture, which is not affected by it, is the place where we can see the truth. Raymond Williams's fundamental notion, "culture is ordinary," has been very influential to cultural studies. His idea is that literary works are treated under the illusion that they are superior to any other forms of culture, although literature is nothing but a part of culture. His attack against the values of taste and sensibility for assessing literary works has resulted in attributing to popular culture including film, TV, and advertising, the same value as high culture had. Despite the positive result of reconsidering the underestimated value of popular culture, he missed the fact that popular culture is not created by ordinary people themselves but rather by culture industry, which tries to produce as much profit as possible out of it. Theodor Adorno, however, differentiates culture from culture industry which tries to standardize culture in order to facilitate mass production. Standardization, according to him, brings the destruction of autonomy, spontaneity, and criticism that culture used to possess. As a result, culture industry, a distorted form of culture, manipulates people into doing and enjoying things that they would not like unless they were misled. For him, culture is like a work of art which resists against the status quo and unveils the reality distorted by the dominant ideology. In this sense, popular culture is not ordinary any more because that culture has already been distorted by standardization, and culture, which is not affected by it, is the place where we can see the truth.