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    TV 드라마 <초인가족>에 나타난 웃음 전략과 희망 서사의 아이러니 = Laughter Strategies and Irony of Hope Narratives in <The Super Family>

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    https://www.riss.kr/link?id=A106639716

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    다국어 초록 (Multilingual Abstract) kakao i 다국어 번역

    The TV drama <The Super Family>, which was broadcast as two 30-minute episodes, has been typically categorized in the genre of sitcoms. However, despite this categorization, the drama has been touted as an “ultra-emotional mini-drama.” <The Super Family> depicts a distinction from traditional sitcoms, wherein the drama satirizes the contradictions and absurdities of society by presenting various relevant themes in each episode through its TV news scene. Primarily, two factors place <The Super Family> in the sitcom genre. The first is the strategy of having families of Na Chun-il address the camera (or the viewers) directly. This is similar to Brecht’s epic strategy, but the results have the opposite effect because in <The Super Family>, Na Chun-il’s family tries to talk to the camera instead of creating a distance between the audience and the reality of the play. The second is the self-reflective device of Na Chun-il and Maeng Ra-yeon. In the TV drama, actors Park Hyuk-kwon and Park Sun-young, who play Na Chun-il and Maeng Ra-yeon, respectively, appear in historical or fictitious morning dramas, or news interviews, exhibiting their self-reflective characteristics. While <The Super Family> comically deals with the plight of Na Chun-il’s family, his co-workers, and residents in the neighborhood, the reality faced by them is brutal. After quitting his job, Na Chun-il opens a chicken restaurant with Choi Moon-seok. Na Baek-il, his younger brother, gives up on his job search and returns home. Their neighbor, a formerly successful office worker who was fired, takes charge of all the household chores instead of his wife. The reality and future that await Maeng Ra-yeon and Na Ik-hee are not favorable either. Therefore, the drama suggests that while Na Chun-il may be able to overcome difficulties with his family’s support, under the ostensible narrative, there exists a pessimistic vision of the future that they will be unable to survive as “the middle class” or “petty bourgeois.”
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    The TV drama <The Super Family>, which was broadcast as two 30-minute episodes, has been typically categorized in the genre of sitcoms. However, despite this categorization, the drama has been touted as an “ultra-emotional mini-drama.” <T...

    The TV drama <The Super Family>, which was broadcast as two 30-minute episodes, has been typically categorized in the genre of sitcoms. However, despite this categorization, the drama has been touted as an “ultra-emotional mini-drama.” <The Super Family> depicts a distinction from traditional sitcoms, wherein the drama satirizes the contradictions and absurdities of society by presenting various relevant themes in each episode through its TV news scene. Primarily, two factors place <The Super Family> in the sitcom genre. The first is the strategy of having families of Na Chun-il address the camera (or the viewers) directly. This is similar to Brecht’s epic strategy, but the results have the opposite effect because in <The Super Family>, Na Chun-il’s family tries to talk to the camera instead of creating a distance between the audience and the reality of the play. The second is the self-reflective device of Na Chun-il and Maeng Ra-yeon. In the TV drama, actors Park Hyuk-kwon and Park Sun-young, who play Na Chun-il and Maeng Ra-yeon, respectively, appear in historical or fictitious morning dramas, or news interviews, exhibiting their self-reflective characteristics. While <The Super Family> comically deals with the plight of Na Chun-il’s family, his co-workers, and residents in the neighborhood, the reality faced by them is brutal. After quitting his job, Na Chun-il opens a chicken restaurant with Choi Moon-seok. Na Baek-il, his younger brother, gives up on his job search and returns home. Their neighbor, a formerly successful office worker who was fired, takes charge of all the household chores instead of his wife. The reality and future that await Maeng Ra-yeon and Na Ik-hee are not favorable either. Therefore, the drama suggests that while Na Chun-il may be able to overcome difficulties with his family’s support, under the ostensible narrative, there exists a pessimistic vision of the future that they will be unable to survive as “the middle class” or “petty bourgeois.”

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    참고문헌 (Reference)

    1 "한류드라마 간접광고(PPL) 활용 설명회 및 상담회"

    2 프랑코 베라르디, "프레카리아트를 위한 랩소디" 난장 2013

    3 슬라보예 지젝, "처음에는 비극으로 다음에는 희극으로" 창비 2010

    4 데이비드 로빈슨, "찰리 채플린" 시공사 2001

    5 제이 데이비드 볼터, "재매개 : 뉴미디어의 계보학" 커뮤니 케이션북스 2011

    6 진태원, "을의 민주주의 : 새로운 혁명을 위하여" 그린비 2017

    7 만프레트 가이어, "웃음의 철학 : 서양 철학사 속 웃음의 계보학" 글항아리 2018

    8 레나타 살레츨, "선택이라는 이데올로기" 후마니타스 2014

    9 허경, "부채 통치 : 현대 자본주의의 공리계" 갈무리 2018

    10 주디스 버틀러, "박탈" 자음과 모음 2016

    1 "한류드라마 간접광고(PPL) 활용 설명회 및 상담회"

    2 프랑코 베라르디, "프레카리아트를 위한 랩소디" 난장 2013

    3 슬라보예 지젝, "처음에는 비극으로 다음에는 희극으로" 창비 2010

    4 데이비드 로빈슨, "찰리 채플린" 시공사 2001

    5 제이 데이비드 볼터, "재매개 : 뉴미디어의 계보학" 커뮤니 케이션북스 2011

    6 진태원, "을의 민주주의 : 새로운 혁명을 위하여" 그린비 2017

    7 만프레트 가이어, "웃음의 철학 : 서양 철학사 속 웃음의 계보학" 글항아리 2018

    8 레나타 살레츨, "선택이라는 이데올로기" 후마니타스 2014

    9 허경, "부채 통치 : 현대 자본주의의 공리계" 갈무리 2018

    10 주디스 버틀러, "박탈" 자음과 모음 2016

    11 데이비드 건켈, "리믹솔로지에 대하여" 포스트카드 2018

    12 조르조 아감벤, "도래하는 공동체" 꾸리에 2013

    13 테리 이글턴, "낙관하지 않는 희망" 우물이 있는 집 2016

    14 이원석, "공부란 무엇인가" 책담 2014

    15 칼 폴라니, "거대한 전환" 도서출판 길 2014

    16 김준환, "Trouble with Strangers: A Study of Ethics" 도서출판 길 2017

    17 Brett Mills, "The Sitcom" Edinburgh University Press 2009

    18 Brett Mills, "Television Sitcom" bfi Publishing 2005

    19 박명진, "TV드라마에 나타난 기억/애도의  (불)가능성과 파국 정서― <마을–아치아라의 비밀>을 중심으로" 중앙어문학회 72 : 181-217, 2017

    20 Barry Lanford, "Popular television drama" Manchester University Press 2005

    21 Michael Koane, "New Television, Globalisation, and The East Asian Cultural Imagination" Hong Kong University Press 2007

    22 이강훈, "Irony and the Discourse of Modernity" 동문선 2005

    23 Jonathan Bignell, "An Introduction to Television Studies" Routledge 2004

    24 "<초인가족> ‘기획의도’"

    25 이원석, "#hash tag - #구멍 vol.1" 북노마드 2015

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    2026 평가 재인증평가 신청대상 (재인증)
    2022-03-24 학술지명변경 한글명 : 문화와 융합 -> 문화와융합 KCI등재
    2022-03-16 학회명변경 영문명 : The Korean Society of Culture and Convergence -> The Society of Korean Culture and Convergence KCI등재
    2020-01-01 등재 등재학술지 유지 (재인증) KCI등재
    2017-01-01 등재 등재학술지 선정 (계속평가) KCI등재
    2015-01-01 등재 등재후보학술지 선정 (신규평가) KCI등재후보
    2014-03-04 학회명변경 한글명 : 문학과언어학회 -> 한국문화융합학회
    영문명 : Munhak Kwa Eoneo Hakhoi -> The Korean Society of Culture and Convergence
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