Suchergebnisse

The article analyzes the South Korean TV series in the genre of "fantasy" as a holistic text in order to identify the features of the construction of the space in which the action takes place. The popularity of series produced in the Republic of Korea is undeniable, as is their popularity with foreign audiences. However, not only the phenomenon of popularity itself and not only the reception of South Korean TV series abroad can be the subject of consideration in a humanitarian study. The construction of the narrative, the types of characters, the established standards and deviations from them – all that also represents a very promising material for analysis. Streaming services are increasingly becoming co-producers or sole producers of new series, among which Netflix stands out in particular. TV series created for exclusive demonstration on the Netflix platform are aimed not only at the domestic Korean audience, but also at the global one, therefore, from such series one can expect both tracing of global examples of the genre and bold experiments with South Korean standards. And the technical capabilities provided by Netflix allow the series in the fantasy genre to realize the rather complex ideas of the show's creators. And the 2020 series "The School Nurse Files" very promising example of a South Korean fantasy TV series made for the Netflix platform.

The article is aimed at studying the effect of the fantastic in a documentary: if it is possible, and what circumstances can influence its appearance. That issue is investigated in the context of the "fictional world", the very presence and features of which serve as a sign of belonging to the genre of the fantastic. The article briefly examines the concept of "fictional world" and the specifics of the audience's interaction with it. The main object of the analysis is the documentary "Wrath of the Gods" by the Icelandic director Jon Gustafsson, which is declared as "a documentary about filmmaking in extreme conditions". It was edited from fragments of video footage shot during the filming of "Beowulf & Grendel" (2005), directed by Sturla Gunnarsson and based on a medieval epic poem. The filming process in Iceland in the fall of 2004 proved to be extremely difficult, and the article traces how the group members describe what is happening to them in expressions that form the discourse of the "pagan" or the discourse of the "miraculous" in general. In combination with the peculiarities of editing, this gives the film the right to be considered as a narrative, in which the fantastic becomes an integral part of the plot. The imaginary Iceland acquires the features characteristic of the fictional world of a fantastic story

The use of the "image of the Middle Ages" in popular works of art and its impact on the perception of the past by a wide audience has traditionally been defined as "medievalism". The study of "medievalism" has become a special area in the humanities. However, since the Middle Ages is a concept associated with the periodization of the history of Western Europe, the concept of "medievalism" often includes products created in the conditional West and fictional worlds constructed from elements perceived as "Western". More importantly, such products are usually aimed at a "Western" audience – that is, at viewers who perceive the European Middle Ages as part of their own culture (even if in fact the product is intended for a global audience). The article attempts to analyze the image of the Middle Ages in popular TV series in South Korea: their main viewer is an internal viewer, for whom the history of the Middle Ages is something extremely distant both from the history of his own country and from him/her personally. An analysis of several TV series that use "medieval" images shows that the medieval heritage of the West is perceived as a very attractive background for a part of the plot, but the "historical" in these narrations reveals the ability to easily transform into the "magical".