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Kwon, H., Yang, S.(2001). A study on resistance in rapper fashion, Journal of Fashion Business. 5(1), pp. 53-71
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2 |
Lee, E., Chung, H.(2002). A study on style of the Hip-hop. Journal of Fashion Business 6(1), pp. 116-127
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3 |
Maria, C. op. cit., p. 54
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4 |
Kellner, D., Kim, S.& Chung, J.(trans.) (1997), Media Culture. Seoul: Saemulgyul, p. 288
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5 |
Arnold. R.(2001). Fashion, Desire and Anxiety-Image and Morality in the 20th Century. NJ: University of Rutgers Press, p. 32-34
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6 |
Hall, S. and Jefferson, T.(1976), Resistance Through Rituals, Youth Culture Identity in Post-War Britain, London. p. 54. in Evans, C.(1997), Dreams That Only Money Can Bye...Or, The Shy Tribe In Flight from Discourse, Fashion Theory, 1(2), pp. 170-171
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7 |
Strauss, L. C.(1966), The Savage Mind, Chicago, 11: University of Chicago Press., in Barnard, M(1996). Fashion as Communication, Routledge, pp. 166-169
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8 |
Rosow, E.(1978). Born to Lose: The Gangster Film in America. University of Oxford Press, p. 185
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9 |
Dargis, M. Quentin Trantino on Pulp Fiction, Sight and Sound 4, 11: November, p.17. in Bruzzi. S.(1997), op. cit., P- 91
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10 |
Steele, V.(197). Anti-Fashion: The 1970s. Fashion Theory, 1(3), p. 40
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11 |
Hebdige, D. op. cit., p. 115
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12 |
The President made the critical remarks in a speech following a New York mes story on 'heroin chic' and the lethal overdose of fashion photographer and heroin addict Davide Sorrenti. Sorrenti, 20, died of a heroin overdose in February. A promising fashion photographer, he was well-known for his photographs of seemingly strung-out heroinaddicted models. The 'heroin chic' look had been popular in the 19908, but was passing and with Sorrenti's death, it may come to an end. The expose of the 'heroin chic' phenomenon in the New York Times article said the trend is over (Spindler, A., 'A Death Tarnishes Fashion's 'Heroin Look', New York Times, May 20, 1997, p. AI)
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13 |
Kellner, D. op. cit., p. 288
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14 |
Hebdige, D.(1983). Posing.....Threats, striking...poses: youth, surveillance, and display, in Gelder, K. & Thornton. S.(eds)(1997). Resistance Through Rituals, London: Hutchinson. p. 404
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15 |
Chung, op. cit., p. 34
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Zoot style is a upward street fashion worn by African- and Mexican-Americans who couldn't have social and economic benefit in the 1940s. Zoot suit is omposed with sky-blue pants thirty inches a angle-narrowed down to twelve inches at the bottom, a long coat that shoulder padded and waist pinched and flared out below the knees, a broad-brimmed hat and golden chain accessories. The zoot suit, with its extravagant use of expensive fabric and its luxurious accessories, loudly proclaimed the message: "I've got it made'.(Polhemus, T. op. cit., pp. 17-19.)
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Thevoz, M.(1985). The Painted Body: The Illusion of Reality. NY: Rizzoli. pp. 76-77
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18 |
Brinkley, A., Hwang, H(trans.) (1998). The history of Americans 3. Seoul: Bisul, pp 226-227, 256-258
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19 |
Maria, C(1997). Men's Fashion at the twentieth Century. NY: Costume & Fashion Press. p. 59
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20 |
Fiske, J.(1989). Understanding popular culture, Urwin Hyman, p. 35
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21 |
Sanders, C. R. 'Organisational Constraints on Tattoo Images: A Sociological Analysis of Artistic Style.' in Hodder, J.(1989). The Meaning of Things: Material Culture and Symbolic Expression, London: Unwin Hyman. pp. 232-241
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22 |
Global Music Video. 1997(3), p. 202
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After the World War II, the tailors of Savile Row-the traditional, typically conservative arbiters of British upper-class, male dress style-produced a more flamboyant line of menswear which came to be known as 'Edwardian' because it harked back to the golden age of Edward VII. jackets in this style were single-breasted, long, fitted and often featured velvet trim on the color or cuffs. The were worn with narrow trousers and fancy broadcade waistcoat.(Ted, P.(1994), Street Style, London: Thames and hudson, p. 33.)
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Kwon, Yang. op. cit., p. 65
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Film Nair is a movie characterized by low-key lighting, a bleak urban setting, and corrupt, cynical characters. Film Noir usually describes a hero or notorious rascal's life which can't be away from crimes and corruption
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26 |
Cohn, J., Yun, H(trans.)(1978). lesus and black revolution. Seoul; Chungsa, p. 82
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27 |
Cho. op. cit., pp. 14-15
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28 |
Hebdige, D(1981). Subculture: The Meaning of Style. London: Routledge, p. 63
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29 |
Brinkley, A. op. cit., pp. 226-227
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30 |
Engelmeier, R., Engelmeier. W. P.(1990), Fashion in Film, Prestel-Verlag, p. 7
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31 |
Bruzzi, S.(1997). Undressing Cinema: clothing and identity in the movies. London: Routledge, p. 72
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32 |
Cho, S(1997). A study on game characteristics in gangster movies. Hanyang Univ. Press
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33 |
Gerald, M. P.(1977). The Rise of The American Gangster Film, 1913-1930. p. 14
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34 |
Chung, S.(2000). A study on gender identities shown in movie costumes-focused on the period from 1930's through 1990's. Sookmyung Women's Univ Press
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35 |
Kellner, D. op. cit., p. 36
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36 |
A movement among Black Americans emphasizing racial pride and social equality through the creation of Black political and cultural institutions: 'Black Power... calls for black people to consolidate behind their own, so that they can bargain from a position of strength' (Stokely Carmichael and Charles Hamilton, http://www.yourdictionary.com)
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