Ficciones corporativas surcoreanas, modelos de liderazgo y Ética cordial

  1. Amelia Melendez Táboas
Revista:
Ética y Cine Journal

ISSN: 2250-5660 2250-5415

Ano de publicación: 2023

Título do exemplar: Integridad en el cine

Volume: 13

Número: 1

Páxinas: 27-39

Tipo: Artigo

DOI: 10.31056/2250.5415.V13.N1.40639 DIALNET GOOGLE SCHOLAR lock_openDialnet editor

Outras publicacións en: Ética y Cine Journal

Obxectivos de Desenvolvemento Sustentable

Resumo

South Korean television fiction that portrays business life oscillates between soap opera drama, cartoons borrowed from the online cartoon or webtoon of origin, and realistic dramas that may or may not be crossed by other genres such as thrillers or melodrama. In this corporate fiction it is possible to observe models of leadership that may correspond to some of those described in corporate manuals (Pygmalion Competence, Integral Personalist Leadership) and also with proposals that from applied ethics do not renounce a normative ethics that is both minimum and maximum, such as the Ethics of Cordial Reason, Cordial Ethics (Cortina, 2009). Both models of leadership and ethical proposition will serve for the analysis of two recent South Korean television fictions - Night Lights (Bulyaseong, White Nights, 2016) and Search: WWW (Geomsaekeoreul Ibryeokhaseyo, 2019) - that bring to the table the increasing awareness in their society of the situation of the professional women whose lives they project. The moral profiling and increased realism in the characters’ characterisation from CEO Yi-Kiung Seo (Night Lights) to Ta mi Bae (Search) is due to the move from one screenwriter, Ji-hoon Han, to the breakthrough of more screenwriters in the hallyu industry such as Eun Sol Kwon. In addition, Search: WWW acknowledges the social change in the country after the Feminist Reboot that followed the Gagnam station murder, which has led all hallyu industries to rethink their gender equality conditions

Referencias bibliográficas

  • Arriojas, C. (2019). Devorando el Hallyu: Desarrollo, hibridación y canibalismo latinoamericano. Revista Mundo Asia Pacífico, 8 (14), 45-59.
  • Boman, B. (2022). Feminist themes in Hallyu 4.0 South Korean TV dramas as a reflection of a changing sociocultural landscape. Asian Journal of Women’s Studies, DOI: 10.1080/12259276.2022.2127622
  • Castro, R. (2020) Modelo de Competencia Pigmalión para el Liderazgo. Edición de Kindle.
  • COM [Comisión de las Comunidades Europeas]. Libro Verde. Fomentar un marco europeo para la responsabilidad social de las empresas. [Versión de 18 de julio de 2021] https://eur-lex.europa.eu/legal-content/ES/TXT/PDF/?uri=CELEX:52001DC0366&from=ES
  • Cortina, A. (2009). Ética de la razón cordial. Educar la ciudadanía en el siglo XXI. Ediciones Nobel.
  • Cho Han, H.J. (2000). ’You are entrapped in an imaginary well’: the formation of subjectivity within compressed development. A feminist critique of modernity and Korean culture. Inter-Asia Cultural Studies. 1 (1); 46-69. DOI: https://doi.org/10.1080/146493700360999
  • De la Sota, M.; Cabrera, M.L., E. Zaínos, E. (2022) Liderazgo Personalista Integral. Un modelo para el liderazgo en las organizaciones. Empresa y Humanismo; XXV (2); 43-73. DOI: https://doi.org/10.15581/015.XXV.2.43-73
  • Finchung-Sung, H.V. (2009) Image Is Everything: Re-imaging Traditional Music in the Era of the Korean Wave. Southeast Review of Asian Studies; 31; 39–55.
  • Guarné, B. (2020). El impacto del audiovisual japonés y surcoreano en España: circulación, recepción e influencia. L´Atalante. Revista de Estudios cinematográficos, 29, 7-22.
  • Holliday, R.; Cheung, O. Cho, J.H.; Bell, D. (2017). Trading faces: The ‘Korean Look’ and medical nationalism in South Korean cosmetic surgery tourism. Asia Pacific Viewpoint; 58 (2); 190-202.
  • Howson, R., Yecies, B. (2015) Korean Cinema’s Female Writers-Directors and the Hegemony of Men. Gender, rovné příležitosti, výzkum; 16 (1); 14-22. DOI: http://dx.doi.Org/10.13060/12130028.2015.16.l.167
  • Jin, D. Y. (2019b). Snack Culture’s Dream of Big-Screen Culture: Korean Webtoons’ Transmedia Storytelling. International Journal of Communication, 13, 2094–2115. Recuperado de https://ijoc.org/index.php/ijoc/article/view/10004/2647
  • Ju, H. (2018) The Korean Wave and Korean Dramas. Oxford Research Encyclopedia of Communication, 1-28. DOI: 10.1093/acrefore/9780190228613.013.715
  • Ju, H. (2020). Korean TV drama viewership on Netflix: Transcultural affection, romance and identities. Journal of International and Intercultural Communication; 13 (1); 32-48.
  • Jung, K. (2003) Practicing Feminism in South Korea: The Issue of Sexual Violence and the Women´s Movement. Hecate, Interdisciplinary journal of women’s liberation; 29 (2); 261-284.
  • Kim, S. (2005). Popular Feminism and the Hegemonic Practice of Mass Media: A study of two South Korean TV dramas, Lovers and The Woman Next Door. Conference Papers — International Communication Association. 2005 Annual Meeting, New York, NY, 1-31. 31p. Base de datos: Communication Source.
  • Kim, J. (2019). Korean Popular Cinema and Television in the Twenty-first Century. Parallax Views on National/transnational disjunctures. Journal of Popular film & television, 47, 1, 2-8.
  • Kim-Hogarth, H. K. (2010). Globalization and Women’s Property Rights in South Korea. Koninklijke Brill NV. DOI: 10.1163/156914910X487960
  • KoreaExposé (2018, 11 de mayo). Documentary: FEMINISM REBOOT (English, Spanish, French and German sub). [Video]. Youtube. https://www.youtube.com/watch?v=2EMRJzDMXdg
  • Lee, J.L. (2019, 10 de julio). [REVIEW] Drama breaks the tradition and puts women at the center: In ’Search: WWW,’ the ladies take the lead, without making sacrifices. KoreaJoongAngDaily.https://koreajoongangdaily.joins.com/news/article/article.aspx?aid=3065374&cloc=joongangdaily
  • Lew, K. (2018, 14 de noviembre). Im So Jung talks to star upcoming tvN drama. Soompi. https://www.soompi.com/article/1262839wpp/im-soo-jung-talks-star-upcoming-tvn-drama
  • López-Rocha, N. (2015). El rol del Hallyu como cultura pop en la creación y la difusión de la imagen de la mujer coreana contemporánea. Portes. Revista MexiCana de Estudios sobre La Cuenca del Pacífico. III; 9 (18); 171-195.
  • Miroudot, S. (2019). Hallyuwood. Korea’s Comparative Advantage in the Global Motion Picture Industry. Kritika Kultura; 32; 54–78.
  • Nicolas, F., Thomsen, S.; Bang, M. (2013), “Lessons from Investment Policy Reform in Korea”, OECD Working Papers on International Investment, 2013/02, OECD Publishing. http://dx.doi.org/10.1787/5k4376zqcpf1-en
  • Park, J.Y; Lee, A.G. (Ed.) (2019). The Rise of K-Dramas. McFarland & Company, Inc., Publishers. Edición de Kindle.
  • Ryzhkov, A; López-Rocha, N. (2017). Hallyu y su percepción por los jóvenes coreanos en el contexto de la marca país coreana. Revista Mundo Asia Pacífico; 6-26. doi: 10.17230/map.doi v6.i11.01
  • Schulze, M. (2013) Korea vs. k-dramaland: the culturalization of k-dramas by international fans. Acta Koreana; 16 (2); 367–397.
  • Seo J.E (2012; 30 de enero). Gov’t task force to promote ‘K-culture’. KoreaJoongAng Daily. https://koreajoongangdaily.joins.com/news/article/article.aspx?aid=2947654
  • Tangalycheva, R. (2019). Female issues in korean art-house cinema; 25-31. th International Multidisciplinary Scientific Conference on Social Sciences & Arts SGEM 2019. https://doi.org/10.5593/sgemsocial2019V/6.1
  • Teo, S. (2014) Darker than dark: Film Noir in its asian contexts. En Pettey, H.B. y Barton, R. (Eds). International Noir. Edinburgh University Press, 136-154.
  • Tuleconghoa (2022, 9 de octubre). 5 best screenwriters who penned the most popular Korean dramas. BIZoom. https://kbizoom.com/5-best-screenwriters-who-penned-the-most-popular-korean-dramas/