A Declaration of Love all the Same: Chicago and Modern Boy
0
조회
0
다운로드
0
인용
0
참고문헌
키워드
초록
Due to the remarkable changes in the early twentieth century, the new invention and technology impacted peoples’ everyday lives and people started to use the word, modern, to apply specifically to what pertained to present times and to designate a movement in what was new and not old-fashioned—a condition of newness. In the present day, however, the fantastic cultural changes of a century ago have now become commonplace, and what was once considered radically new is no longer a reason to marvel. This paper considers what it mean to be modern, once the new is no longer new. This question seems to remain as complicated and inappropriate to ponder because the consideration and impact of modernity cannot simply end with the end of an era. This paper investigates how the interconnected nature of popular culture provides apt illustrations to reveal the ambivalent nature of modernity and postmodernity. In doing so, first of all, this paper pays attentions to the notion of modernity and popular culture which emerged together in the early twentieth century when technology and mass consumer culture were promoted over the world. Also, it examines how popular culture represents a complex of mutually-interdependent perspectives and values that influence society and its institutions in various ways as the image of modernity continues to build in a postmodern era. That is, popular culture is identified as a large amount of intertextuality or collective experiences due to its intermingling of complementary distribution sources and techonology. Thus, this paper explores that popular culture devotes itself other images or narratives instead of referring to the real world and its output revisits the contemporary or past times in other places, being a means to produce and reproduce the accumulated images of the modern which shapes ceaseless simulacra of modernity over complexities of modernity. In order to find a critical juncture of the complex networks of modernity and popular culture, this paper considers two places, Chicago and Gyeongsung in the 1920s and 1930s in which the rapid modern experience took place and the modern movement forced the two societies to join the mass consumer culture whether willingly or not. Next, this paper considers two movies released in 2002 and 2008 that exemplify the complexities of modernity in Chicago and Gyeongung of the 1920s and 30s: Chicago and Modern Boy. Both films have common themes of the 1920s and 30s such as violence, adultery, femme fatal, and criminal themes with the forms of musical, dance, drama, and romance. Through the textual analysis of both Chicago and Modern Boy, two films are compared in observing the similar and different ways in which two films deal with the theme of modernity when they are represented from the contemporary perspectives. More specifically, this paper questions how modernity is present in contemporary cultural forms such as commercial and hybrid genre films; and how these movies create a new image of modern by embodying the double coding. Ultimately, this paper aims at realizing the paradox of double edged modernity and its ongoing discourse that controls people’s consciousness through the medium of popular culture.
Abstract
Due to the remarkable changes in the early twentieth century, the new invention and technology impacted peoples’ everyday lives and people started to use the word, modern, to apply specifically to what pertained to present times and to designate a movement in what was new and not old-fashioned—a condition of newness. In the present day, however, the fantastic cultural changes of a century ago have now become commonplace, and what was once considered radically new is no longer a reason to marvel. This paper considers what it mean to be modern, once the new is no longer new. This question seems to remain as complicated and inappropriate to ponder because the consideration and impact of modernity cannot simply end with the end of an era. This paper investigates how the interconnected nature of popular culture provides apt illustrations to reveal the ambivalent nature of modernity and postmodernity. In doing so, first of all, this paper pays attentions to the notion of modernity and popular culture which emerged together in the early twentieth century when technology and mass consumer culture were promoted over the world. Also, it examines how popular culture represents a complex of mutually-interdependent perspectives and values that influence society and its institutions in various ways as the image of modernity continues to build in a postmodern era. That is, popular culture is identified as a large amount of intertextuality or collective experiences due to its intermingling of complementary distribution sources and techonology. Thus, this paper explores that popular culture devotes itself other images or narratives instead of referring to the real world and its output revisits the contemporary or past times in other places, being a means to produce and reproduce the accumulated images of the modern which shapes ceaseless simulacra of modernity over complexities of modernity. In order to find a critical juncture of the complex networks of modernity and popular culture, this paper considers two places, Chicago and Gyeongsung in the 1920s and 1930s in which the rapid modern experience took place and the modern movement forced the two societies to join the mass consumer culture whether willingly or not. Next, this paper considers two movies released in 2002 and 2008 that exemplify the complexities of modernity in Chicago and Gyeongung of the 1920s and 30s: Chicago and Modern Boy. Both films have common themes of the 1920s and 30s such as violence, adultery, femme fatal, and criminal themes with the forms of musical, dance, drama, and romance. Through the textual analysis of both Chicago and Modern Boy, two films are compared in observing the similar and different ways in which two films deal with the theme of modernity when they are represented from the contemporary perspectives. More specifically, this paper questions how modernity is present in contemporary cultural forms such as commercial and hybrid genre films; and how these movies create a new image of modern by embodying the double coding. Ultimately, this paper aims at realizing the paradox of double edged modernity and its ongoing discourse that controls people’s consciousness through the medium of popular culture.
참고문헌 (46)
- Bauman, Zygmunt, "Liquid Modernity" (2000), Polity Press
- Bauman, Zygmunt, "Modernity and Ambivalence" (1990), Cornell University Press
- Berman, Marshall, "All That is Solid melts into Air: The Experience of Modernity" (1981), Penguin
- Clark, Donald N., "Modern East Asia: A Brief History. Belmont", pp.2004, Wadsworth
- Clark, Donald N., "Living Dangerously in Korea: The Western Experience 1900-1950" (2003), EastBridge
- Drowne, Kathleen, "Spirits of Defiance: National Prohibition and Jazz Age Literature, 1920-1933" (2005), Ohio State University Press
- Erdman, Andrew L., "Blue Vaudeville: Sex, Morals and the Mass Marketing of Amusement, 1895-1915" (2004), McFarland & Company
- Eco, Umberto, "Postcript of the Name of the Rose" (1984), Harcourt Brace Jovanovich
- Feuer, J., "The Hollywood Musical" (1993), Macmillian
- Fields, Armond, "Women Vaudeville Stars :Eighty Biographical Profiles" (2006), McFarland & Company, Inc.
- "Ryoko Yonekura kicks off musical 'Chicago'"[URL]
- Giordano, Ralph, "Satan in the Dance Hall : Rev. John Roach Straton, Social Dancing, and Morality in 1920s New York City" (2008), The Scarecrow Press, Inc.
- Harvey.David, "The Condition of Postmodernity" (1990), Blackwell Publishers Inc.
- Heller, Adele, "The Cultural Moment" (1991), Rutgers University Press
- Lee,Hyo-won, "Modern Boy Opens in October", Korea Times, ~ (2008)
- Lee, Hyo-won, "Modern Boy: Representation of Japanese Colonialism?", Korea Times, ~ (2008)
- Hyun, Theresa, "Writing Women in Korea" (2004), University of Hawaii Press
- Jang, Won-jae, "Irish Influences on Korean Theatre During the 1920s and 1930s" (2003), International Ltd
- "Chongdong Theater Features Master of Traditional Art"[URL]
- Matthews, Jean V., "The Rise of the New Woman: The Women’s Movement in America, 1875-1930" (1930), The American Ways Series
- Mukerji, Chandra, "Rethinking Popular Culture: Contemporary Perspectives in Cultural Studies" (1991), University of California Press
- Oh, Tae-sok, "The Metacultural Theater of Oh Tae-sok; Five Plays from the Korean Avangarde" (1999), University of Hawaii Press
- Robbins,Trina, "Tender Murderers: Women Who Kill" (2003), ME
- Robinson, Michael E., "Korea’s Twentieth-Century Odyssey" (2007), University of Hawaii Press
- Schoppa,R.Keith, "East Asia: Identities and Change in the Modern World: 1700 to Present" (2008), Pearson Education, Inc.
- Slater, Don, "Consumer Culture and Modernity" (1999), Polity
- Springhall, John, "The Genesis of Mass Culture:Show Business Live In America, 1840 to 1940" (2008), Palgrave Macmillan
- Tipton, Elise K., "Being Modern in Japan: Culture and Society from the 1910s to the 1930s" (2000), University of Hawaii Press
- Turnbull, Craig, "An American Urban Residential Landscape, 1890–1920: Chicago in the Progressive Era" (2009), Cambria Press
- Wohr, Ulrike, "Gender and Modernity: Rereading Japanese Women’s Magazines" (1998), International Research Center for Japanese Studies
- 김경일, "근대의 여성: 20세기 전반기 신여성과 근대성" (2004), 푸른역사
- 정태기, "신여성: 매체로 본 근대 여성 풍속사" (2005), 한겨레신문사
- 이경민, "사진으로 읽는 한국 근대 문화사: 경성, 사진에 박히다" (2008), 산책자
- 손종업, "찔레꽃에 나타난 식민도시 경성의 공간 표상체계", 한국근대문학연구, (16), pp.301~330 (2007), 한국근대문학회
- 우정권, "30년대 경성과 동경의 ‘카페’ 유흥문화 비교 연구", 한국현대문학연구, (26), pp.337~356 (2008), 한국현대문학회
- 태혜숙, "한국의 식민지 근대와 여성공간" (2004), 도서출판 여이연
- . USA: Rent Productions LLC, "1492 Pictures", Revolution Studios, pp.2005, ~
- . USA, "Germany: The Producers Circle Co. (as The Producer Circle Co.)", Miramax Films. 2002, 2002
- . Korea: CJ Entertainment, 2009, , 2009
- "Celebrating 100th Anniversary"[URL]
- Robinson, Michael E., "Korea’s Twentieth-Century Odyssey", pp.93~ (2007), University of Hawaii Press
- Clark, Donald N., "Living Dangerously in Korea: The Western Experience 1900-1950", pp.191~ (2003), EastBridge
- Giordano, Ralph, "Satan in the Dance Hall : Rev. John Roach Straton, Social Dancing, and Morality in 1920s New York City" (2008), The Scarecrow Press, Inc.