著者

玄 武岩

出版者

北海道大学大学院国際広報メディア・観光学院

雑誌

国際広報メディア・観光学ジャーナル

巻号頁・発行日

vol.18, pp.25-47, 2014-03-18

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This paper examines the transnational space of popular culture and cultural identities in Korea that formed in the process of the public acceptance of Japanese Animation (Anime), one of few fields officially allowed in the postwar period during which Japanese popular culture was forbidden. Particularly, in analyzing anime-songs aired in Korea between the 1960s and the 2000s and in observing the process of their historical evolvement, critical points for arguing the flow of popular culture between Japan and Korea as it relates to media culture and identity emerge. The research first reconstitutes the cultural relationship between postwar Japan and Korea, as reflected in the acceptance of Anime and historic changes in South Korean identities in the above period, according to the ideal type “Anime-Song Community.” Then, the research employs a comprehensive approach incorporating diverse perspectives of industrial and historical content flow, consumption, and identity to examine the way in which media practice constitutes that field. By thus considering from an overall perspective what kind of socio-cultural dynamics are revealed through changes in the style of acceptance of “Anime-Songs” shared between both countries, we should be able to comprehend the transition of cultural identity amidst young Korean generations.

著者

玄 武岩 張 慶在 金 春玉

出版者

北海道大学大学院国際広報メディア・観光学院 = Graduate School of International Media, Communication, and Tourism Studies, Hokkaido University

雑誌

国際広報メディア・観光学ジャーナル

巻号頁・発行日

no.15, pp.57-77, 2012

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The aim of this paper is to examine the 'ideal image of family' of Japan, Korea and China through analyzing Japanese animation Chibi Maruko-chan. Recently, various genres of Japanese animations are popular worldwide. Especially, so called Home Anime which describes everyday life in Japan is widely accepted in East Asia. Although their stories are based on Japanese settings, which are often unfamiliar to the foreign audience, Home Animes such as Sazae-san, Crayon Shin-chan and Chibi Maruko-chan enjoy great popularity in Asia, especially in China and South Korea. The paper clarifies the reason behind the popularity of this kind of animations, focusing on the image of family through literature review, text analyzing and questionnaire survey of Chibi Maruko-chan.

著者

玄 武岩 張 慶在 金 春玉 丁 暁婷 李 亜妤 王 瑩珞

出版者

北海道大学大学院国際広報メディア・観光学院 = Graduate School of International Media, Communication, and Tourism Studies, Hokkaido University

雑誌

国際広報メディア・観光学ジャーナル

巻号頁・発行日

vol.15, pp.57-77, 2012-09-20

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The aim of this paper is to examine the 'ideal image of family' of Japan, Korea and China through analyzing Japanese animation Chibi Maruko-chan. Recently, various genres of Japanese animations are popular worldwide. Especially, so called Home Anime which describes everyday life in Japan is widely accepted in East Asia. Although their stories are based on Japanese settings, which are often unfamiliar to the foreign audience, Home Animes such as Sazae-san, Crayon Shin-chan and Chibi Maruko-chan enjoy great popularity in Asia, especially in China and South Korea. The paper clarifies the reason behind the popularity of this kind of animations, focusing on the image of family through literature review, text analyzing and questionnaire survey of Chibi Maruko-chan.

著者

芳賀 恵 玄 武岩

出版者

北海道大学大学院国際広報メディア・観光学院 = Graduate School of International Media, Communication, and Tourism Studies, Hokkaido University

雑誌

国際広報メディア・観光学ジャーナル

巻号頁・発行日

vol.26, pp.3-19, 2018-03-20

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This article examines the narrow path to de-nationalisation in South Korean films dealing with the Japanese colonial period since the 2000s that we call 'colonial pieces'. Based on Ryu Seung-wan's "Battleship Island" (Gunhamdo, 2017) situated during Korean mobilization under colonial rule, we argue that it is possible to clarify the style and strategy of visual representation used to replace the dichotomy of victimizers (Japan) and victims (Korea) in recent 'colonial piece' films. By focusing on the representation and its stylistic aspects of "Battleship Island" in relation to the empire of Japan through the periodical transition of political, social and cultural meaning, this article explores the way in which these films act on the process of reproducing colonial memories in Korean society and the historical issue between Japan and Korea, as a postcolonial problem of cultural and social politics.

著者

芳賀 恵 玄 武岩

出版者

北海道大学大学院国際広報メディア・観光学院

雑誌

国際広報メディア・観光学ジャーナル

巻号頁・発行日

vol.26, pp.3-19, 2018-03-20

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This article examines the narrow path to de-nationalisation in South Korean films dealing with the Japanese colonial period since the 2000s that we call ‘colonial pieces’. Based on Ryu Seung-wan’s “Battleship Island” (Gunhamdo, 2017) situated during Korean mobilization under colonial rule, we argue that it is possible to clarify the style and strategy of visual representation used to replace the dichotomy of victimizers (Japan) and victims (Korea) in recent ‘colonial piece’ films. By focusing on the representation and its stylistic aspects of “Battleship Island” in relation to the empire of Japan through the periodical transition of political, social and cultural meaning, this article explores the way in which these films act on the process of reproducing colonial memories in Korean society and the historical issue between Japan and Korea, as a postcolonial problem of cultural and social politics.

著者

重信 メイ 玄 武岩 金平 茂紀

出版者

同志社大学メディア・コミュニケーション研究センター

雑誌

同志社メディア・コミュニケーション研究 (ISSN:18801811)

巻号頁・発行日

no.3, pp.305-325, 2006-03

著者

玄 武岩

出版者

日本マス・コミュニケーション学会

雑誌

マス・コミュニケーション研究 (ISSN:13411306)

巻号頁・発行日

vol.79, pp.27-44, 2011-07-31 (Released:2017-10-06)

参考文献数

40

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This article aims to consider possibilities of studies focusing on transnational media and communication practices of ethnic minorities through an historical exploration of the media and communication networks of the Korean diaspora in East Asia. Diasporas have often been pioneers in adopting cutting-edge technologies in their media practices. Furthermore, it is a subject of growing political and social importance to analyze which aspects of transnational communication diasporic and migrant populations use to stay connected with their homeland. However, in Japan, there has been little research on the topic to date, and it could even be said that such a perspective has been lacking. By focusing on the production and consumption of media cultures by the Korean diaspora in their past and present, we can receive new insights into the areas of cultural politics and identity construction of migrant and diasporic populations in which their identity has been constantly represented, contested and negotiated in their everyday lives. Through this examination, I would like to emphasize a new dimension to and the possibilities for diasporic media studies in Japan.

著者

芳賀 恵 金 周英 玄 武岩

出版者

北海道大学大学院国際広報メディア・観光学院 = Graduate School of International Media, Communication, and Tourism Studies, Hokkaido University

雑誌

国際広報メディア・観光学ジャーナル

巻号頁・発行日

no.18, pp.69-90, 2014

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This paper examines the cultural meaning in terms of the border transgression of text which arises through the process of remaking video content such as TV dramas in other countries, using a Japanese TV drama "Haken no Hinkaku" and its Korean remake "Shokuba no Kami". "Haken no Hinkaku" is a TV drama which formulated social consciousness in the motif of the change in employment practices in Japan, such as labor dispatch. When it was remade in Korea, the social consciousness did not just project the real world, but covered the relation outside of the text, functioning as a motive of a stir in society, or evocation of public opinion. In this paper, the point where the social consciousness arises was studied by the comparative analyses of the text in both TV productions. It revealed that the original work had been transformed into a dissimilar TV drama by the shift in the characteristics of the protagonist. As a result, it has become certain that a remake gives new significance to the original by 'localization' of the original as well as reproduces it in the capacity of cultural practice.

著者

玄 武岩

出版者

北海道大学大学院国際広報メディア・観光学院 = Graduate School of International Media, Communication, and Tourism Studies, Hokkaido University

雑誌

国際広報メディア・観光学ジャーナル

巻号頁・発行日

no.18, pp.25-47, 2014

---

This paper examines the transnational space of popular culture and cultural identities in Korea that formed in the process of the public acceptance of Japanese Animation (Anime), one of few fields officially allowed in the postwar period during which Japanese popular culture was forbidden. Particularly, in analyzing anime-songs aired in Korea between the 1960s and the 2000s and in observing the process of their historical evolvement, critical points for arguing the flow of popular culture between Japan and Korea as it relates to media culture and identity emerge. The research first reconstitutes the cultural relationship between postwar Japan and Korea, as reflected in the acceptance of Anime and historic changes in South Korean identities in the above period, according to the ideal type "Anime-Song Community." Then, the research employs a comprehensive approach incorporating diverse perspectives of industrial and historical content flow, consumption, and identity to examine the way in which media practice constitutes that field. By thus considering from an overall perspective what kind of socio-cultural dynamics are revealed through changes in the style of acceptance of "Anime-Songs" shared between both countries, we should be able to comprehend the transition of cultural identity amidst young Korean generations.

著者

堀田 真紀子 玄 武岩 西村 龍一 田邉 鉄 宇佐見 森吉 川嵜 義和 坂巻 正美 富田 俊明 常田 益代 竹中 のぞみ 原田 真見 浜井 祐三子 石橋 道大

出版者

北海道大学

雑誌

基盤研究(B)

巻号頁・発行日

2011-04-01

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本研究は、文化の持つエンパワメント機能に注目し、地元北海道を中心に、小規模農業従事者、障害者、少数民族といった社会的、経済的弱者を主体にしたり、対象にした文化発信を研究。全員がイニシアティブを担える脱中心的な構造を持つものほど、当該者のエンパワメントにつながること、また地域の立場と、海外の類似事例の担い手との交流や、実践者と研究家の交流が、とくに効果的に働くことを明らかにすることができた。

著者

玄 武岩 渡邉 浩平 金 成玟 鈴木 弘貴 崔 銀姫 北見 幸一

出版者

北海道大学

雑誌

基盤研究(C)

巻号頁・発行日

2011

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本研究は、メディアコンテンツの流通における生産および受容の二つの側面から、東アジアにおける越境的な放送空間の構築について実践的に考察した。生産面においては、2001年に始まった「日韓中テレビ制作者フォーラム」に直接かかわりながら調査を行い、その意義と可能性を考察した。受容面においては、東アジアにおける大衆文化コンテンツの越境を、産業、文化、消費、歴史認識など包括的なアプローチをとおして考察し、その過程における排除と変容、現地化と再創造の文化的意味を明らかにした。

著者

玄 武岩 北田 暁大

出版者

集英社

雑誌

青春と読書

巻号頁・発行日

vol.40, no.8, pp.66-71, 2005-08