• Journal of Family Resource Management and Policy Review
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• v.14 no.3
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• pp.123-141
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• 2010

Considering recent changes in care policies for children and the elderly, this study assumed that the familialistic characteristics of the welfare state in Korea might differ from those of the past. In order to explore the direction of change in familialism, this study focused on care policies for children under six and for the elderly who are sixty-five and over. Applying Leitner's four types of familialism-implicit familialism, explicit familialism, optional familialism, and de-familialism-to the study, it analyzed both familialization care policies, such as paid parental leave, homecare allowance, tax credit, and de-familialization care policies, including service provision and subsidies. The results of the study showed that care policy for children under 6 displayed the characteristics of "optional familialism," while care policy for the elderly reflected "de-familialism."

• Korean Journal of Social Welfare
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• v.64 no.4
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• pp.261-284
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• 2012

This article attempts to discuss the childcare regime through examining the way familialism is expressed in society. First of all, this study reconceptualizes familialism and familism. From this conceptualization, this paper argues that although familialism is partly related with the level of development in a welfare state, familialism determines the way of welfare provision. Especially, family policy models are classified into 6 different typologies based on four concepts: defamilialization, familialization, public, and private. According to this discussion, familialism in child care is not simply the result of underdeveloped welfare in Korea. Rather the familialism is deeply rooted in the current socioeconomic circumstance and traditional culture in Korea. This implies that despite of expanding the institutional infrastructure of public childcare, the characteristic of Korean childcare regime would not be the same as the Nordic childcare regime.

• The Journal of the Korea Contents Association
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• v.17 no.4
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• pp.12-24
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• 2017

This paper analyzed the representation of migrants in television with the example of KBS's My Neighbor, Charles. This primetime TV show with consistent popularity has showcased different types of migrants from other Korean television shows in terms of gender and race, and, partly the difference brought popularity to it. This study finds the major reason of the difference from changed migration patterns in Korea. Until recently, the main population of immigrants in Korea was composed of female brides and workers, but it became diversified to include male and the West migrants. This triggered the changes in media representation, but not thoroughly. Though the faces of migrant protagonists have been diversified, the remaining ideology of nation-centric that has been the main frame to regard migrants as someone to be integrated through traditional values persists. This study finds a few conflicts between the traditional and the change. For example, represented realities of migrants are extends to include their activities in public domain, disputes of multicultural society such as social differentiation and bias, and the criticism of Korean traditional culture. In a gender perspective, while all the marriages represented showed different kinds of vulnerability, discourses of traditional familialism were also clearly presented through different tools of representation. This study aims at contributing existing studies of media representations of migrants with a more complicated pictures in the context of social changes and migration population changes.

• The Journal of the Korea Contents Association
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• v.22 no.6
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• pp.175-183
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• 2022

This study comparatively analyzed the cultural codes of Korea and Turkey represented in the Turkish film remaking the Korean original film. Although both films follow the narrative of resisting the tyranny of public power based on fatherly love, similarities and differences were revealed depending on the socio-cultural contexts of Korea and Turkey. First of all, Korea and Turkey valued familialism under the influence of Confucianism and Islam respectively. This was represented as a fatherly love, willing to sacrifice himself for the sake of his daughter. Meanwhile, in the Turkish version, there was a difference in the interpretation of the Islamic identity that encompasses the lives of Turkish people and the consequent human sinfulness and death. In the film, the prisoners repented of their personal sinfulness under Islamic doctrine, and sought salvation by activating the muslim brotherhood. This contrasts with the original work, which uses religion as a humor element that highlights the genre characteristics of comedy films, along with the social atmosphere in Korea that allows for the coexistence of various religions. In addition, Turkish one draws on the realistic issues of the military dictatorship of Turkey in the 1980s and the abolition of the death penalty for EU membership, bringing out a film narrative as a drama genre.