As an attempt to think about the popularization of Korean sport history, this paper discusses three main things. First, it will be introduced what public/popular history is, how it has been developed, and why it is important to history as an academic discipline. Second, it will be summarized how sport historian embraced public/popular history into their practices in terms of what theoretical, critical, and methodological aspects they have focused. Third, I will discus why public/popular history is useful in the ways in which Korean sport history envisions its popularization in Korean society. To be more specific, I highlight two ideas: an insight for understanding sport history as a process and sport historiansʼ role of critic. Based upon these two, I will argue that Korean sport historians might need to actively embrace practices of public/popular history into their studies of the Korean sporting past.
Purpose The purpose of this study was to explore cultural meanings of the concept of ‘Che-Yuk-In’ through a critical examination of how it was described, portrayed, and represented in the narratives of the mainstream newspapers in the early days of the nation(1945-1961). Methods As for the data collection and method, a total of 338 articles were collected by searching of "Che-Yuk-In" through the database provided by the Naver News Library. Sorting out them with the point of whether the concept simply denotes the number of players or the majority of athletes, for example, we select 140 column-type articles and analyzed how it serves as a linguistic element and what discourses were involved in the narratives. Results Our argument is twofold: 1) the concept of ‘Che-Yuk-In’ is a kind of self-representative terminology with which a particular group of people, who call themselves ‘Che-Yuk-In’, construct their collective identity into a particular type of the idealized subject, so-called sporting citizen, and 2) this construction consists of two functions: one is to share the emotion of pride by celebrating success and achievements of the sporting figures, and the other is to collectively reflect shame by criticizing negative incidents and controversies such as corruption, factional disputes, violent behaviors, which broke in the sporting practices. Conclusions With a brief summary, this paper concludes with some suggestions for future studies, in terms of how the shameful past should be embraced within the field of Korean sport history, and why a conceptual history of the ‘Che-Yuk-In’ might need to be further expanded.
Purpose The purpose of this study is to identify why and how sports docudrama is one of the unique objects for the scholarship of sport history. Methods As a review study, this paper pays attention to, collects, and critically reviews three dimensions of the literatures: 1) ones that claim and argue for a-historicity of historical sport films by pointing out how they are full of actual errors, mistakes, and misrepresentation, and why they are problematic, 2) ones that belong to so called ‘the study of docudrama’ with specific focus on the themes of definition, mode of representation, and cultural memory, and 3) ones that attempt to envision the possibility of visual history or filmic history from the perspective of historiography and some other epistemological issues. Results Following the above review method, the result of this paper is also divided into three parts: 1) how sport historians respond to and criticize historical sport films from the sense based on the modern historiography, 2) how a group of historians argue why historical sport films can be one of the promising way of doing histories, 3) review of the study of docudrama, focusing on what is docudrama, why it can be a mode of representation, and how it resonates to cultural memory. Conclusions As a conclusion, this paper argues that a more collectively academic concerns to sport docudrama paves way for developing and envisioning the scholarship of sport history.
The purpose of this paper is to map how sport sociologists and sport historians have engaged in the study of race and/in sport. Focusing on scholars with two communities of the North American Society for Sport Sociology & Sport History, it investigates themes, historical/sociological philosophy, theoretical/methodological issues that underpin their works. To be more specific, mainly four types of research are detailed: 1) popular narratives that mostly celebrate black athletes’ success in sport, 2) so-called the early academic works that highlight the positive role of sport in advancing the issue of race in relation to social justice, unification, equality, and so on, 3) a group of researches informed by the positivism, which attempt to discover, investigate, identify racially problematic phenomena, incidents, policies, or incidents and explain why they happen, what makes them problematic, and how to solve such matters, and 4) critical paradigm that orients cultural studies based researches that attempt to explore the relationship between sport and race with focus on interpretive, theoretical, and reflective approaches. In conclusion, it is discussed why I pay attention to the critical paradigm, what it’s emergence means to the sporting academy, and in what ways we can embrace it into the Korean sporting academy.
PURPOSE This study aims to critically read the film <Run-Off 2> in a manner in which its narrative represents and constructs the multicultural subject as the fearful and compassionate “other,” and its structure and meanings reconciles with the concept of cultural citizenship. METHODS This research is informed by two methods: 1) text analysis by deconstructing the narrative structure and flow, and 2) contextual interpretation focussing on understanding the significance of the filmic representation in the Korean historical, political, social, and cultural contexts. RESULTS The narrative of the film portrays and constructs the multicultural subject as a cultural other, with specific styles of representation, in which stereotypical description, otherizing tropes of double process, and recognition struggle for cultural citizenship. CONCLUSIONS The study summarized the present research and laid out some suggestions for critical studies of sport films from an interdisciplinary approach and cultural studies-based methods.
