In Korea’s traditional marriage culture, which puts financial pressure on all participants through wedding gifts such as jewelry, furniture and more, has existed for a long time. In 2013, the famous celebrity Lee Hyo-ri had a ‘small wedding’ at her house in Jeju-do with only a small group of guests....
In Korea’s traditional marriage culture, which puts financial pressure on all participants through wedding gifts such as jewelry, furniture and more, has existed for a long time. In 2013, the famous celebrity Lee Hyo-ri had a ‘small wedding’ at her house in Jeju-do with only a small group of guests. Since then, a small wedding has become accepted as ‘small-scale, simple, and meaningful’, and has changed Korea’s marriage culture.
This study focuses on the creative process of , which is a feature film scenario about the new ‘small wedding’ culture in Korea. It considers theoretical issues of the existing marriage culture in Korea and examines the links between the trend of living on Jeju Island and having a small wedding and the change of lifestyles in this era of employment uncertainty. The methodology of this study is based on Kim Ik-sang·Seo Won-tae’s ‘Storytelling Structure Revision’, which comprehensively suggests that the ‘three-act structure’ stems from the narrative theory of Aristotle. This study analyzes the characters, plot and space appearing in the feature film scenario based on this methodology.
The results of the study are as follows; Firstly, , a feature film scenario, talks about the economic background for the birth of a small wedding and reveals the traces of the young generation’s career changes by focusing on the character who wishes to become a government official due to the temporary jobs and employment uncertainty in Korean society.
Secondly, the plot structure of is juxtaposed with the main plot of desiring a small wedding by recognizing the issues related to existing weddings, and has a subplot of participating in a video made by the broadcasting club. This structure effectively delivers the thematic message: ‘an alternative to the generation that gives up certain things to enter the social system called marriage’.
Thirdly, Jeju Island is a symbol the outstanding scenery and space that can bring about a minimal life without obsessing over material things. The symbolic values of a small wedding and Jeju Island are identical in the sense that they both consider the essence of a wedding without any formalities or vanity. However, in , Jeju functions as a patriarchal and frugal space and builds up irony, contrary to the meaning of its original symbolism.
As such, the feature film scenario is significant in that it stimulated an awareness shift in the public by revealing the irony of a small wedding model formulated by the media, and also highlighted an ironic reality where a small wedding is ‘the inevitable choice of the young generation entering the system’.
In Korea’s traditional marriage culture, which puts financial pressure on all participants through wedding gifts such as jewelry, furniture and more, has existed for a long time. In 2013, the famous celebrity Lee Hyo-ri had a ‘small wedding’ at her house in Jeju-do with only a small group of guests. Since then, a small wedding has become accepted as ‘small-scale, simple, and meaningful’, and has changed Korea’s marriage culture.
This study focuses on the creative process of , which is a feature film scenario about the new ‘small wedding’ culture in Korea. It considers theoretical issues of the existing marriage culture in Korea and examines the links between the trend of living on Jeju Island and having a small wedding and the change of lifestyles in this era of employment uncertainty. The methodology of this study is based on Kim Ik-sang·Seo Won-tae’s ‘Storytelling Structure Revision’, which comprehensively suggests that the ‘three-act structure’ stems from the narrative theory of Aristotle. This study analyzes the characters, plot and space appearing in the feature film scenario based on this methodology.
The results of the study are as follows; Firstly, , a feature film scenario, talks about the economic background for the birth of a small wedding and reveals the traces of the young generation’s career changes by focusing on the character who wishes to become a government official due to the temporary jobs and employment uncertainty in Korean society.
Secondly, the plot structure of is juxtaposed with the main plot of desiring a small wedding by recognizing the issues related to existing weddings, and has a subplot of participating in a video made by the broadcasting club. This structure effectively delivers the thematic message: ‘an alternative to the generation that gives up certain things to enter the social system called marriage’.
Thirdly, Jeju Island is a symbol the outstanding scenery and space that can bring about a minimal life without obsessing over material things. The symbolic values of a small wedding and Jeju Island are identical in the sense that they both consider the essence of a wedding without any formalities or vanity. However, in , Jeju functions as a patriarchal and frugal space and builds up irony, contrary to the meaning of its original symbolism.
As such, the feature film scenario is significant in that it stimulated an awareness shift in the public by revealing the irony of a small wedding model formulated by the media, and also highlighted an ironic reality where a small wedding is ‘the inevitable choice of the young generation entering the system’.
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