• The Journal of the Korea Contents Association
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• v.16 no.11
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• pp.754-766
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• 2016

What is the relationship between the power of mask and the popularity of 'Umakdaejang(which means a band master in Korean)' who was one of the mask-singers in King of Masksinger? And which aspects of the contemporary Korean society were projected to this fever of Umakdaejang? This study has made efforts to answer these questions. To do this, it has examined the episodes that Umakdaejang appeared in the TV program King of Masksinger, has dealt with the origin and purpose of mask, and with the cultural meaning of the mask's concealing and revealing identity in order to understand the power of mask. Findings are as follows. Umakdaejang amplified the curiosity of his identity by displaying anonymous typicality with the mask. He also showed the resistant gestures against the forms and manners of the existing TV music programs through the way of somewhat tough, uncontrolled, and mischievous behaviors. By doing so, he exposed the desire of self-revelation. As a result, by means of its anonymity and resistance, the mask functioned as an effective apparatus being able to resist against the class polarization of the capitalist ideology. This can be viewed as the origin of the fever of Umakdaejang as well as the very power of mask itself.

• Proceedings of the Korea Contents Association Conference
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• 2017.05a
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• pp.57-58
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• 2017

중국 경극에서 얼굴에 다양한 분장을 하는 것을 검보라 하며, 극 중에서는 다양한 상징성을 갖는다. 검보는 민족적 특색을 내재하며, 극중 캐릭터를 위한 "영혼의 화면"이라 불린다. 반면, 일본 노극은 가면을 쓰고 연기하는 독특한 고전 가무극으로 히타멘(直面, 가면을 쓰지 않음)과 가면을 쓰는 공연으로 나뉘며, '유현(幽玄)의 예술" 이라고 불린다. 이러한 경극의 검보와 노극의 가면은 애니메이션에 캐릭터에 차용되며, 극의 서사와 상징성을 드러내는 매개 역할을 하고 있다. 이에, 본 연구에서는 경극의 검보와 노극의 가면이 연출된 애니메이션 영화를 중심으로 사례 비교연구를 진행하고자 한다.

• (The) Research of the performance art and culture
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• no.22
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• pp.5-43
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• 2011

Before the Korean War, Korean mask dramas had been performed as parts of seasonal customs and had been passed down in connection with various seasonal events, such as village rites, tug of war, torch fighting, Jisinbabgi(stepping on evil spirits), Gilnori, and Sattonoreum. However, after the Korean War, the dramas were played independently regardless of those seasonal events; thus, they have lost their original functions and meanings. After the Korean War, the lion dance in the Bukcheong lion mask play included two lions (as opposed to one lion prior to the Korean War) and the Aeonesung and Sadang dances were added. The scene in which a lion eats a child changed to a lion eating a rabbit doll. Furthermore, whereas mask types used to be diverse, they are now standardized to one type of lion mask. In the Yangju Byulsandae-nori, eight monks and Waejangnye, Aesadang appeared in 'Aesadang Bubgonori', but now the Malddugi mask character is added. Current performances omit sexually suggestive scenes. In the pre-Korean War version of the old man and old woman act, the old man sang a song to the soul of the dead woman, but now a shaman appears and performs an exorcism. In the dialogues, vulgar and sexual statements have been shortened as many audience members are women and children. Regarding the appearance of the masks, the lotus leaf, the monk with Scabies, and sannim masks have been significantly changed. Bongsantalchum has also changed, especially in the old monk act. Previously, two Somu used to appear whereas now only one appears. The scene of the shoe seller's and the monkey's departure is also different. Furthermore, while the former masks once had big eye holes on each side of the nose, now the masks have smaller holes on the eyes.

• The Journal of the Convergence on Culture Technology
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• v.8 no.6
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• pp.67-77
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• 2022

The purpose of this study was to explore the experiences of counselors who conducted video counseling using digital mask. To this end, the contents of the focus group interview with four counselors who experienced mask video counseling for a total of 10 Korean college student clients were analyzed using thematic analysis method. Participant counselors reported that they had been concerned about mask video counseling before the start but gradually be adjusted to the method. Since they have observed the rapid self-disclosure of the clients and smooth counseling process, they positively predicted the possibility of digital masks as a therapeutic media. They also mentioned the need for additional education and training for the counselors who are using the new on-line counseling media. Therefore, various supports for proactive responses of counselors to online counseling media need to be explored.

• (The) Research of the performance art and culture
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• no.33
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• pp.129-163
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• 2016

This study examines processes of cultural introductions and transformations among Korea, China and Japan via focuses on the formative characteristics of nasori(納曾利) masks belonging to komagaku (高麗樂), part of bugaku (舞樂), a Japanese court dance and music. Previous studies of traditional masks in East Asia focus on their dramatic characters and entertaining aspects. On the contrary, it approaches to their origins through the formative characteristics of komagaku nasori masks. Prince of Lanling, the representative togaku passed to Japan, and komagaku nasori perform a pair of toubu (答舞). One formative characteristic between Prince of Lanling and nasori masks is a dangling jaw (吊り顎). Masks having 'he' (へ)-shaped eyes like Japan's okina (翁) masks are characterized by a division (切顎) between the face and jaw, which is as same as the Korean masks. Other common grounds between Prince of Lanling and nasori masks are grotesque ghost faces and concentric double-circled eyes with their outlines painted gold. Concentric double-circled eyes prove that they spread to broader areas before the age of togaku and developed into a variety of divine-animal mask patterns. That Korean masks and nasori masks both have concentric double-circled eyes and dangling jaws is a significant starting point in studying the origin of traditional performing art in East Asia. Japan's bugaku has been passed down in shrines as part of folk religion. However, there exist in Korea no records or examples related to komagaku nasori masks introduced to Japan. This study provides some clues to comparison between Korean masks and komagaku nasori masks by focusing on the formative characteristics of the latter. The researcher suggests a new perspective to nasori mask dance by re-examining earlier Korean studies of the introduction of Daemyeonmu of Prince of Lanling to Japan through Shilla and the assumption of Nasori as Shilla music.

• (The) Research of the performance art and culture
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• no.33
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• pp.97-128
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• 2016

According to the findings of the study, the music composition of the mask play is deeply related to the main characteristics of the scene. The first scene of the play starts with the Byeoksa dance. This particular dance part represents the evil spirit expel ritual. The instrumental accompaniment like and are played for the dance. The last part of the play starts with the Halmi and Yeonggam scene. This scene is played in both the instrumental and vocal music. For the instrumental part , for the vocal part and songs are played. and songs are played on the part of the Halmi's funeral ceremony scene. The instrumental and are played in various scenes for the accompaniment of the dance part. The musical structure of the mask play is flexible. This kind of flexibility of scene structure mainly concerned with the way of musical composition. The main structure of the mask play can be classified into two main styles according to the allocation of the vocal music. In first style, the vocal music is evenly dispersed. In second style, the vocal parts are concentrated in the rear section. As I mentioned earlier, no logical association is found in the matter of the scene arrangement. A scene arrangement has a deep connection with the arrangement of the music in each scene. In conclusion, the mixed arrangement of the scene in mask play is mainly concerned with the matter of the music arrangement in order to maintain the tension of the drama.

• Proceedings of the Korea Contents Association Conference
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• 2010.05a
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• pp.500-501
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• 2010

융의 분석심리학적 성격이론 페르소나는 사회의 인습과 전통의 요청과 그 자신의 내적 원형의 요구에 부응해서 채택한 가면이다. 이것은 사회가 그에게 부과되는 역할이며 사회가 인간에게 생활에서 담당하기를 기대하는 배역이다. 가면의 목적은 남에게 뚜렷한 인상을 주려는 것이며 그리고 반드시 그렇지는 않지만 이따금 사람의 본성을 감추기도 한다. 본 논문에서는 다양한 외부 환경에 의해 만들어지는 인간의 이중적인 가면을 토대로 영화 속 주인공의 삶과 그 속에서 요구되고 나타나는 내외적 성격과 심리를 연구 분석해 보고자 한다.

• Proceedings of the KIEE Conference
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• 2007.10a
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• pp.165-166
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• 2007

특수 분장을 이용하여 매우 정교하게 제작된 가면을 쓴 얼굴 위변조의 경우 일반적인 밝기 영상으로는 검출이 용이하지 않다. 최근의 획기적인 특수 분장 기술 발전을 고려할 때 성공적인 얼굴 인식시스템 개발을 위해 가면을 쓴 얼굴 위변조 검출 연구는 매우 중요하다. 본 연구에서는 물질의 재질에 따른 반사율의 차이를 기반으로 가면을 착용하는 얼굴 위변조를 검출하는 방법을 제안한다. 우선 알비도(albedo)에 착안하여 여러 파장대의 조명에 대해 실험하였다. 실제 얼굴 인식 시스템의 적용 환경을 고려할 때 알비도를 단순히 빛의 반사량으로 간략화 할 수 있음을 보였고, 실험결과 850nm 적외선 조명이 적합하다는 결론을 얻었다.

• Journal of the Institute of Electronics Engineers of Korea CI
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• v.45 no.6
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• pp.139-146
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• 2008

Masked fake face detection using ordinary visible images is a formidable task when the mask is accurately made with special makeup. Considering recent advances in special makeup technology, a reliable solution to detect masked fake faces is essential to the development of a complete face recognition system. This research proposes a method for masked fake face detection that exploits reflectance disparity due to object material and its surface color. First, we have shown that measuring of albedo can be simplified to radiance measurement when a practical face recognition system is deployed under the user-cooperative environment. This enables us to obtain albedo just by grey values in the image captured. Second, we have found that 850nm infrared light is effective to discriminate between facial skin and mask material using reflectance disparity. On the other hand, 650nm visible light is known to be suitable for distinguishing different facial skin colors between ethnic groups. We use a 2D vector consisting of radiance measurements under 850nm and 659nm illumination as a feature vector. Facial skin and mask material show linearly separable distributions in the feature space. By employing FIB, we have achieved 97.8% accuracy in fake face detection. Our method is applicable to faces of different skin colors, and can be easily implemented into commercial face recognition systems.

• Proceedings of the Korea Contents Association Conference
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• 2010.05a
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• pp.475-477
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• 2010

경극은 중국의 전통극 중 하나이다. 경극의 영어 명칭은 'peking Opera'다. 경극의 "분장"은 희극에서 배우들이 얼굴에 하는 채색 화장을 가리킨다. 경극 배우들의 얼굴 분장을 '검보'라고 한다. 형태, 색채와 유형 면에서 특별한 양식을 갖춘다. 본 논문은 중국에 전하는 가면극의 외면적 표현 형태를 시각디자인 조형영역 분석을 통해 학문적 가치를 창출하는데 목적이 있다. 본 논문의 연구 영역은 경극의 유래, 색채, 형식적 측면에 대한 조형분석과 가면의 표현형식, 즉 표형기법, 색상구성, 형태구성, 역할특성 등의 구성형식을 조형적 분석 틀에 의해 분석하고자 한다. 가면 얼굴의 대표문양 분석을 통해 단순화 표현형식으로 작품을 만들어 연구하고자 한다. 분 논문의 의의는 중국 전통경극의 집중적 연구의 결과 추출을 통해 한국의 유사 전통탈춤과 비교하는 연구의 귀중한 자료로 예측되기에 본 연구를 진행하였다.