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The Right to See and Not be Seen: South Korean Musicals and Young Feminist Activism

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References

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  22. Kim, Jonhyun. ( 2018a), ‘ A study on the performing arts industry analysis and the evaluation model for Korean original musical commercialization strategy. ’, Ph.D. thesis, Seoul:: Sangmyoung University;.
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  23. Kim, Jonhyun. ( 2018b;), ‘ Domesticating Hedwig: Neoliberal global capitalism and compression in South Korean musical theater. ’, Journal of Popular Culture, 51:2, pp. 421–45.
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  24. Koskoff, Ellen. ( 2014), A Feminist Ethnomusicology: Writings on Music and Gender, Urbana, Chicago and Springfield:: University of Illinois Press;.317
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  25. Lee, Hyunjung. ( 2012;), ‘ “Broadway” as the superior “other”: Situating South Korean theater in the era of globalization. ’, The Journal of Popular Culture, 45:2, pp. 320–39.
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  26. Lee, Hyunjung. ( 2015), Performing the Nation in Global Korea: Transnational Theatre, New York and Basingstoke:: Palgrave Macmillan;.
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  38. Wolf, Stacy. ( 2011), Changed for Good: A Feminist History of the Broadway Musical, New York:: Oxford University Press;.
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  39. YTN News ( 2018), ‘Kongyŏn'gye “MeToo” chiji kwan'gaektŭl “WithYou” chiphoe yŏrŏ’, YouTube, 2 February, https://www.youtube.com/watch?v=ytcgia3te6Q. Accessed 9 April 2020.318

References

  1. Anon.. ( 2017a;), ‘ Nan ch'unggyŏkchŏgŭro yeppŭndŏk pwannŭnde. ’, dcinside, 10 December, https://gall.dcinside.com/board/view/?id=theaterM&no=2218167. Accessed 11 December 2017.
     [Google Scholar]
  2. Anon.. ( 2017b;), ‘ Yeppŭndŏk pwattanŭn aedŭl, hogŭn ponini yeppŭndŏgiranŭn saram. ’, dcinside, 10 December, https://gall.dcinside.com/board/view/?id=theaterM&no=2218190. Accessed 12 December 2017.
     [Google Scholar]
  3. Anon.. ( 2017c;), ‘ Yŏbosŏjaegwank'adŭ irhŏbŏrinhyong ch'annŭn sohwan'gŭl ssŭn pabarinde. ’, dcinside, 10 December, https://gall.dcinside.com/board/view/?id=theaterM&no=2218209. Accessed 10 December 2017.
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  4. Back, Hyun-Mi. ( 2007;), ‘ 1950yŏndae yŏsŏnggukkŭgŭi sŏngjŏngch'isŏng(2). ’, Taejungsŏsayŏn'gu, 13:2, pp. 73–46.
     [Google Scholar]
  5. Choi, Seungyeon. ( 2014;), ‘ musicalŭi ironhwa, kŭ yowŏnhan kwaje. ’, The Journal of Korean Drama and Theatre, 47:47, pp. 309–18.
     [Google Scholar]
  6. Douglas, Mary. ( 1986), How Institutions Think, New York:: Syracuse University Press;.316
     [Google Scholar]
  7. Im, Jaeu. ( 2018;), ‘ Yŏn'gŭk musical kwan'gaek #WithYou ch'uakhan sŏngbŏmjoeja mudaesŏ mullŏnara. ’, The Hankyoreh, 25 February, http://www.hani.co.kr/arti/society/society_general/833584.html. Accessed 26 February 2018.
     [Google Scholar]
  8. Interpark ( 2014), ‘Interpark yŏnmalgyŏlsan’ (‘Interpark annual settlement of accounts’), document, Interpark;, Seoul:.
     [Google Scholar]
  9. Jang, Hasung. ( 2015), Wae punnohaeya hanŭn'ga: Captalism in Korea II, Bundang:: Heybooks;.
     [Google Scholar]
  10. Joo, Sung-Hye. ( 2008;), ‘ Chŏnt'ong yesullosŏŭi yŏsŏnggukkŭk-chubyŏnjŏk chang nŭrŭlt'ongan jungsimjŏkkach'igwan ilgi. ’, Nangman Quarterly, 20:3, pp. 167–77.
     [Google Scholar]
  11. Jung, Heamin. ( 2017), ‘ A study on the audience that watches a performance alone (HonGongJok). ’, Ph.D. thesis, Seoul:: The Korea National University of Arts;.
     [Google Scholar]
  12. Jung, Jiyoon. ( 2018a), in person interview with the author, Seoul, 11 November.
  13. Jung, Jiyoon. ( 2018b), participant, #WithYou protest, Seoul, 25 February.
  14. Jung, Jiyoon. ( 2018c;), ‘ Yi Myeonghaeng sŏngch'uhaeng kwallyŏn kaelk'aibŭ. ’, dcinside, 12 October, https://gall.dcinside.com/board/view/?id=theaterM&no=2424278. Accessed 13 November 2018.
     [Google Scholar]
  15. Jung, Jiyoon. ( 2018d;), ‘ (ㅎㄱㄱ)20180425 Man of La Mancha (purhojuŭi, sŭp'ojuŭi). ’, dcinside, 26 April, https://gall.dcinside.com/board/view/?id=theaterM&no=2321000. Accessed 29 April 2018.
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  16. Jung, Jiyoon. ( 2018e;), ‘ Pulgŭnjŏngwŏn wae pullyunmihwasik'inŭn kŭk katchi. ’, dcinside, 29 June, https://gall.dcinside.com/board/view/?id=theaterM&no=2357399. Accessed 29 June 2018.
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  17. Jung, Jiyoon. ( 2018f;), ‘ Hyŏnsiresŏn pŏrimbakko kongyŏnjangwasŏ paeuege. ’, dcinside, 10 February, https://gall.dcinside.com/board/view/?id=theaterM&no=2259169. Accessed 10 February 2018.
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  18. Kim, Ji-Hye. ( 2009;), ‘ 1950yŏndae yŏsŏnggukkŭgŭigongyŏn'gwasuyongŭisŏngb yŏlchŏngch'ihak. ’, Han'gukkŭgyesuryŏn'gu, 30, pp. 247–340.
     [Google Scholar]
  19. Kim, Ji-Hye. ( 2011;), ‘ 1950yŏndae yŏsŏnggukkŭgŭi tanch'ehwaltonggwa soet'oegw- ajŏnge taehan yŏn'gu. ’’, Han'gugyŏsŏngak, 27:2, pp. 1–33.
     [Google Scholar]
  20. Kim, Hyewon. ( 2016;), ‘ Celebrating heteroglossic hybridity: Ready-to-assemble Broadway-style musicals in South Korea. ’, Studies in Musical Theatre, 10:3, pp. 343–54.
     [Google Scholar]
  21. Kim, Jungwon. ( 2017), ‘ K-popping: Korean women, K-pop, and fandom. ’, Ph.D. thesis, Riverside:: University of California;.
     [Google Scholar]
  22. Kim, Jonhyun. ( 2018a), ‘ A study on the performing arts industry analysis and the evaluation model for Korean original musical commercialization strategy. ’, Ph.D. thesis, Seoul:: Sangmyoung University;.
     [Google Scholar]
  23. Kim, Jonhyun. ( 2018b;), ‘ Domesticating Hedwig: Neoliberal global capitalism and compression in South Korean musical theater. ’, Journal of Popular Culture, 51:2, pp. 421–45.
     [Google Scholar]
  24. Koskoff, Ellen. ( 2014), A Feminist Ethnomusicology: Writings on Music and Gender, Urbana, Chicago and Springfield:: University of Illinois Press;.317
     [Google Scholar]
  25. Lee, Hyunjung. ( 2012;), ‘ “Broadway” as the superior “other”: Situating South Korean theater in the era of globalization. ’, The Journal of Popular Culture, 45:2, pp. 320–39.
     [Google Scholar]
  26. Lee, Hyunjung. ( 2015), Performing the Nation in Global Korea: Transnational Theatre, New York and Basingstoke:: Palgrave Macmillan;.
     [Google Scholar]
  27. Lee, Junghyun. ( 2018;), ‘ Honja sanŭn 20tae yŏsŏngi taehangno ch'oego k’ŭnson. ’, Edaily, 7 March, https://m.news.naver.com/read.nhn?mode=LSD&sid1=001&oid=018&aid=0004050532. Accessed 10 September 2018.
     [Google Scholar]
  28. McRobbie, Angela. ( 2009), The Aftermath of Feminism: Gender, Culture and Social Change, Los Angeles:: Sage Publications;.
     [Google Scholar]
  29. Mulvey, Laura. ( 1975;), ‘ Visual pleasure and narrative cinema. ’, Screen, 16:3 pp. 6–18.
     [Google Scholar]
  30. Paik, Lora. ( 2015;), ‘ Ch'angjak myujik’ŏrŭi tayangsŏnggwa hŏyakham. ’, Yŏn'gŭk p'yŏngnon, 76, pp. 86–90.
     [Google Scholar]
  31. Pamsikppang. ( 2016;), ‘ Musical Rachmaninoff. ’, Naver, 24 August, https://blog.naver.com/yellopb/220795809715. Accessed 1 February 2019.
     [Google Scholar]
  32. Papaioannou, Spyros. ( 2014;), ‘ Immersion, “smooth” spaces and critical voyeu-rism in the work of Punchdrunk. ’, Studies in Theatre & Performance, 34:2, pp. 160–74.
     [Google Scholar]
  33. Papalexiou, Eleni. ( 2015), ‘ The dramaturgies of the gaze: Strategies of vision and optical revelations in the theatre of Romeo Castellucci and Socìetas Raffaello Sanzio. ’, in G. Rodosthenous. (ed.), Theatre as Voyeurism: The Pleasures of Watching, London:: Palgrave Macmillan;, pp. 50–68.
     [Google Scholar]
  34. Rodosthenous, George. (ed.) ( 2015), Theatre as Voyeurism: The Pleasures of Watching, London:: Palgrave Macmillan;.
     [Google Scholar]
  35. Roy, David. ( 2016;), ‘ Masks as a method: Meyerhold to Mnouchkine. ’, Cogent Arts & Humanities, 3:1, https://www.tandfonline.com/doi/full/10.1080/23311983.2016.1236436. Accessed 9 April 2019.
     [Google Scholar]
  36. Sung, Donghun. ( 2018), ‘kongyŏn'gye “MeToo'chijigwan'gaektŭl kŏriro..”. sŏngbŏmjoeja paksubadŭl chagyŏgŏpta’, News1, 25 February, https://news.naver.com/main/read.nhn?mode=LSD&mid=sec&oid=421&aid=0003227523&sid1=001. Accessed 28 February 2018.
  37. Tonkin, Elizabeth. ( 1979;), ‘ Masks and powers. ’, Man, New Series, 14:2, pp. 237–48.
     [Google Scholar]
  38. Wolf, Stacy. ( 2011), Changed for Good: A Feminist History of the Broadway Musical, New York:: Oxford University Press;.
     [Google Scholar]
  39. YTN News ( 2018), ‘Kongyŏn'gye “MeToo” chiji kwan'gaektŭl “WithYou” chiphoe yŏrŏ’, YouTube, 2 February, https://www.youtube.com/watch?v=ytcgia3te6Q. Accessed 9 April 2020.318

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