• Proceedings of the KAIS Fall Conference
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• 2010.11b
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• pp.781-784
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• 2010

본 논문은 다큐멘터리 사진의 의미구조와 특성을 스티브 맥커리(Steve Mcccury)의 작품을 통해서 사진이 내포하고 있는 의미구조와 텍스트의 이중적 구조의 전달 방식에 대한 특성을 살펴보고자 하였다. 다큐멘터리 사진이 갖고 있는 시각적 믿음의 생산에 따른 이미지의 진실성은 다양한 양식과 표현 기법을 통해서 전달되고 있는 점을 살펴볼 수 있다. 결국, 다큐멘터리 사진이 갖고 있는 우리 사회의 모습은 단순한 기록매체로의 수단이 아니라는 점을 인식하여야 할 것이다.

• The Journal of the Korea Contents Association
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• v.20 no.7
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• pp.368-378
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• 2020

This paper analyzed how the characteristics of 'punctum' and 'studium' in war documentary photography work on the audience through 'D-DAY' photographs taken by Robert Kappa and a U.S. army photographer. As a method of research, we conducted interviews with the audience to examine the process of expressing the punctum and studium experiences. Studies have shown that audiences feel a greater punctum experience in war documentary photographs of 'Robert Capa' than those of U.S. army photographers. Even if the same situation was taken in the same place, the audience could confirm that the photo could be a means of distortion because it did not show reality in various ways depending on the photographer who took it. This study is meaningful in that it revealed the distortion of war documentary photography and the audience's punctum experience by examining the audience's experience of war documentary photography through qualitative research.

• The Journal of the Korea Contents Association
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• v.15 no.12
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• pp.97-105
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• 2015

In the history of photograph, after the development of color photographs, those with multiple colors and high definition has gradually become the mainstream works in the field of photography. In the modern society of China that has been through reform and opening up, people's minds were increasingly liberated to widely accept color photos in terms of photography. Furthermore, the broad penetration of digital photography has brought together a new trend in the field of black-and-white photography. In line with this trend, more black-and-white photographs have appeared which are different from existing ones in the film-based period. In this recognition, the study seeks to compare the black-and-white documentary photograph works of Chinese photographers and analyze the modern Chinese black-and-white photographs.

• The Journal of the Korea Contents Association
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• v.18 no.12
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• pp.108-117
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• 2018

Xiao Quan is a leading documentary portrait photographer in China. He tried to shoot portrait photographs of celebrities in the literary and artistic world. By doing this, he represented their time period. We explored the way Xiao Quan implemented the times they lived in by analyzing their portrait photographs included in . Our research showed that Xiao Quan used images of their living environments, clothes and facial expressions and composition of portraits. Such various methods of creation are a means for the symbolic expressions of their times. This research not only finds the way Chinese documentary portraits are created but also provides an opportunity to increase the value of documentary portraits as historic documents.

• The Korean Journal of Archival Studies
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• no.27
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• pp.169-208
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• 2011

In this thesis, I pursued how the concept of documentary photography in Korea was formed, and how Koreans perceive the current mix of some concepts and how they are tracked that. Korean photography society, directly or indirectly, accepted the concept and format of documentary photography of the United States in which information and discussion of the history and concept by examining the process of being transferred to Korea are examined. Giroksajin(記錄寫眞) is a translation word of documentary photography which was a part of documentary movements in the United States of the 1930s, and are all based on that concept. When we order Korean documentary photography and the subject matter must be distinct, attitude toward the things should be based on the exact perceptions of this age awareness, to be able to give enough information, and finally moved forward to move the human emotion must be. When this condition is equipped with the photographers and archivists perspective is revealed clearly the social and historical records that are meaningful. Documentary photography is the subject of the photographers and archivists that want to record the important things, but what you can get in the records and the question of how to use it is also important. Korean documentary photography, not only records the things, just to have a meaningful supplement to get done the exact context of information production and led to the conclusion that the strengthening of documentation strategies.

• Proceedings of the Korea Contents Association Conference
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• 2018.05a
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• pp.503-504
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• 2018

• The Korean Journal of Archival Studies
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• no.79
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• pp.471-513
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• 2024

The monthly news and culture magazine, 'Sasanggye,' established by Jang Jun-ha from 1953 to 1970, served as a platform for government criticism and intellectual representation. The magazine created photographic-essays covering a variety of topics and utilized images as a visually impactful tool with news value. This paper aims to critically examine the photographic-essays within 'Sasanggye' as archival records, shedding light on their intrinsic value. Before delving into this assessment, the paper thoroughly explores the developmental process and characteristics of these photographic-essays. And based on the content divisions within the main text, the paper categorized the themes captured in the photographic essays into politics, economics, society, culture, and miscellaneous topics. It then introduced representative photographicessays. From an archival perspective, looking at photographs involves elucidating that photographs carry meanings beyond mere data. The photographic essays in 'Sasanggye' serve as photographic records providing evidence of 1960s Korean society and encapsulating crucial visual information. Furthermore, the photographic essays in 'Sasanggye' hold a historical significance in the aspect of Korean magazine documentary photography. The photo-essays in 'Sasanggye' carry worth in the history of photography and encompass evidential and informational values as photographic records.

• Journal of Korean Society of Archives and Records Management
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• v.8 no.1
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• pp.257-274
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• 2008

In this study, arrangement and description of documentary photographic records about photographer, Choi Min-Sik have been reviewed. Throughout the literature review, arrangement and description of photographic records are analyzed. The results show that the universal classification plan of administrative records is difficult to apply to photographic records. This study suggests the case of arrangement and description of photographic records a photographer produces continually.

• 프린팅코리아
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• v.10 no.12
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• pp.124-125
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• 2011

다큐멘터리 사진작가 최민식은 1957년 독학으로 사진을 익혀 평생 '인간'을 소재로 한 사진을 찍어왔다. 1962년 대만국제사진전 입선을 시작으로 미국 독일 프랑스 영국등 20여 개국 사진공모전에서 220점이 입상 입선되는 등 세계적으로 반향을 일으켰다. 1968년 사진집<인간> 1집을 낸 이후, 지금껏 14집까지 펴냈다. 현재도 자갈치 시장, 용두산공원, 인도, 네팔 등에서 활발한 사진활동을 펼치고 있는 그는 늘 가난한 이들과 함께 있다

• The Journal of the Korea Contents Association
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• v.18 no.8
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• pp.638-645
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• 2018

'42nd Broadway' is one of the most authentic, genuine and renowned musical pieces among the numerous musicals. By approaching every element in the Backstage from the perspective of an actor who is apart of the show, not a professional photographer, rather than an the usual objects on the Front Stage which is imprinted in the minds of the ordinary people through the media or the numerous flyers sent from the theaters, intented to describe the life as it is in the Back Stage by examining various elements such as the sets or make-up rooms, rather than the momentary, technically staged imageries. In the industrial aspect as well, the implication of this documentary would be that a more realistic set of photography was provided instead of the existing ones that usually focused on the'staged,' or 'guarded' images of the musical as shown in the promotional materials or the Front Stage still cuts.