東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

Mass culture in the age of the publi...

Kwak, Han Ju.

Linked to FindBook

Google Book

Amazon

博客來

Mass culture in the age of the public/private split: In South Korean popular cinema since 1992.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Mass culture in the age of the public/private split: In South Korean popular cinema since 1992./
Author:	Kwak, Han Ju.
Description:	344 p.
Notes:	Source: Dissertation Abstracts International, Volume: 66-11, Section: A, page: 3843.
Contained By:	Dissertation Abstracts International66-11A.
Subject:	Cinema. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3196834
ISBN:	9780542427091

Mass culture in the age of the public/private split: In South Korean popular cinema since 1992.
Kwak, Han Ju.

Mass culture in the age of the public/private split: In South Korean popular cinema since 1992. - 344 p.

Source: Dissertation Abstracts International, Volume: 66-11, Section: A, page: 3843.

Thesis (Ph.D.)--University of Southern California, 2005.

This dissertation attempts to theorize the rise of mass culture in the modern era in relation to its modernization process characterized by both capitalist industrialization and individualization, on the one hand, and intends to illustrate the correlation between modernization and the rise of mass culture by examining the transformations made in 1990s South Korean popular cinema, on the other.

ISBN: 9780542427091Subjects--Topical Terms:

854529
Cinema.

Mass culture in the age of the public/private split: In South Korean popular cinema since 1992.
LDR:03601nmm 2200313 4500 001 1826000
005 20061206120642.5
008 130610s2005 eng d
020 $a 9780542427091
035 $a (UnM)AAI3196834
035 $a AAI3196834
040 $a UnM $c UnM
100 1 $a Kwak, Han Ju. $3 1914973
245 1 0 $a Mass culture in the age of the public/private split: In South Korean popular cinema since 1992.
300 $a 344 p.
500 $a Source: Dissertation Abstracts International, Volume: 66-11, Section: A, page: 3843.
500 $a Adviser: David E. James.
502 $a Thesis (Ph.D.)--University of Southern California, 2005.
520 $a This dissertation attempts to theorize the rise of mass culture in the modern era in relation to its modernization process characterized by both capitalist industrialization and individualization, on the one hand, and intends to illustrate the correlation between modernization and the rise of mass culture by examining the transformations made in 1990s South Korean popular cinema, on the other.
520 $a Modern individuals imagine the social life-world as deeply split between public and private or the social and the individual. The public/private split creates a desire for privateness, a desire reclaiming individual's autonomy within the seemingly alienating social world. Mass culture is such a culture addressing this collective desire specific to modern individuals. Mass culture artifacts, by fictively constructing a privatized social time-space, intend to symbolically privatize the seemingly publicized social world, to deny and reverse the structural dominance of the social over the individual. Mass culture often employs the narrative of containment, a narrative that constructs a privatized social life-world by effacing social determination in the text.
520 $a The spectacular upsurge of mass culture in 1990s South Korea---the rise of the narrative of containment in popular cinema, in particular---can be accounted for by applying the frame of the public/private split. While the pre-1990s South Korea is characterized by the underdevelopment and deformity of the split, in the 1990s Koreans were able to re-imagine their social life-world as anchored on the individual self but radically split between public and private.
520 $a Whereas popular cinema before the 1990s was dominated by the narrative of han, in which characters invariably suffer within social relations, the post-1990s popular cinema has forcefully presented the narrative of agency, in which the protagonist proves to have enough agency and not to be bound to destiny. This paradigmatic shift was done by methodically containing social determination, by effacing the reality of heteronomy, alienation, monotony, and insecurity, and in so doing, imaginarily securing individual autonomy.
520 $a To demonstrate how the shift in popular narrative has taken place and how the novel type of narrative successfully has contained social determination, I have analyzed three most popular (sub)genres in post-1990s Korean popular cinema: romantic comedy, North Korea-related blockbusters, and gangster comedy. Though each has deployed its own narrative strategies, all the genres uniformly construct a narrative horizon with utopian promises by concealing the reality of social determination.
590 $a School code: 0208.
650 4 $a Cinema. $3 854529
690 $a 0900
710 2 0 $a University of Southern California. $3 700129
773 0 $t Dissertation Abstracts International $g 66-11A.
790 1 0 $a James, David E., $e advisor
790 $a 0208
791 $a Ph.D.
792 $a 2005
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3196834