• Journal of Science of Art and Design
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• v.7
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• pp.128-149
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• 2005

Zou Si Cong is a very significant female artist from the period when China was forming its modern arts and culture. Zou Si Cong, who was influenced by China's political and social upheaval, was born in 1939 and died in 1996. Her actual work period was after China's 'Cultural Revolution' and lasted only 13 years, from 1978 to 1990. Her passion for art never stopped, even when she was suffering from severe arthritis with its torturing pain. There were big changes that occurred in her work; 'Early Work', 'Realistic Work', 'Mine Worker Painting', 'Yi Tribe' Painting', 'Lotus Paintings'. 'Mine Worker Painting', which represented a new figure by abandoning traditional techniques, dividing picture space, and changing and distorting forms, was the one that had the greatest impact of all on a lot of people and strongly influenced modern Chinese figurative painting. The characteristics of Zou Si Cong's work are in its 'Traditionalism', 'Realism, and 'Historical' aspects. Zou Si Cong developed her uniqueness, along with Western expressions, based on traditional Chinese painting techniques. Realism, through realistic rendering, appeared in her figurative paintings during the Cultural Revolution Period. 'Yi Tribe' paintings lively illustrated their lives. She creatively reinterpreted history in the composition of Mine Workers, which is based on the historical record of Chinese barbarity.

• (The) Research of the performance art and culture
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• no.42
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• pp.291-319
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• 2021

In this paper, I looked for the parts where laughter appeared in the Mundoong, Yangban, Yeongno, and Grandfather and Grandmother of Tongyeong Ogwangdae and Dongrae Yaryu, and investigated the meaning of those parts. Laughter in mask play has made him more tolerant of human injustice and foolishness. I softened the critical content and naturally revealed what I thought should be hidden. Through a short and noisy plot, the opposing forces, the inner conflict of the Mundoong, Yangban, Yeongno, and Grandfather and Grandmother were shown in a realistic and realistic way. The worldview that creates the structure of realism is typically skeptical and ironic, and the worldview that creates the comical structure related to laughter aims for the ultimate emergence of a new order based on unity and harmony. Masking is thought to be a work in the stage of moving from the latter to the former. Therefore, it is judged that laughter in mask play served as an important medium for Korean art thought to have a realist view of the world. This is because various expression methods that induce laughter are working to reveal negativity, reveal the illusion of contemporary values, and naturally expose restraint and taboo suppression. In laughter, there is a path that transforms perception by fusing several elements. There was realism at the end of the pathway to new perception.

• (The) Research of the performance art and culture
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• no.22
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• pp.327-370
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• 2011

Shakespeare's text "Hamlet" was first introduced in Korea in the first part of 1920s by Hyeon Cheol via 『Gaebyeok』. Its performance of whole acts was realized in Kinema Theater in Daegu by the direction of Lee Hae-Rang (translated by Han Lo-Dan) in September, 1951, during the Korean War. Since then, a variety of performances were carried out by numberless performing artists and performing groups in the 1960s, 1970s, 1980s and 1990s. The purpose of this study was, among numberless performing artists and performances appeared in the history of performance of "Hamlet", to examine Lee Hae-rang's direction standpoint of "Hamlet", which has been one of the mainstays since the 1950s. For this, among many performances directed by Lee Hae-rang, the investigator referred to the performing scripts and performance criticisms for the opening performance of Drama Center in 1962 and the performances in HOAM Art Hall in 1985 and 1989, focusing on the text "Hamlet" performance in 1951. In the second chapter, the concept, standpoint and background of realism, the base of his theatrical activities in his lifetime, were examined. In the third chapter, before analyzing his direction standpoint for text "Hamlet", the traditional and modern concept of text was summarized and a variety of standpoints and viewpoints for the text were analyzed. And based on the above summary and analysis, his direction standpoint was analyzed and examined, thus presenting a clue for the discussion on the position of Shakespeare's text "Hamlet" directed by Lee Hae-rang in the Korean history of performance and its performance aesthetics.

• The Korean Publising Journal, Monthly
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• s.135
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• pp.15-15
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• 1993

인도는 나라가 아닌 대륙이라 한다. 그러나 우리의 관심영역은 불교를 중심으로 한 종교.철학에 국한됐었다. 80년대 들어서야 제3세계라는 동병상련의 연대감에 의해 근대사 및 리얼리즘 문학작품이 소개됐다. 다소 '장님 코끼리 만지기'였지만, 올해들어 "마하바라타" "라마야나"의 번역 등을 계기로 인도문화에 대한 소개가 본격화될 조짐을 보이고 있다.

• Korea Multimedia Society
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• v.8 no.1
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• pp.76-85
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• 2004

1960년대 시작된 컴퓨터 그래픽스에 관한 연구는 그 목표를 사진과 같은 영상을 만들어 내는데 두었다. 지난 30년간 포토리얼리즘이라는 용어로 대변되듯, 기존 컴퓨터 그래픽스의 궁극적인 관심은 얼마나 실제와 같은 영상을 만들 수 있는가에 집중되었다. 이러한 전통적인 컴퓨터 그래픽스는 레디오시티나 광선추적법같이 사물의 물리적인 특성이나 역학적인 특징을 그대로 흉내 내어 매우 사실적인 영상을 만들어내었다.(중략)

• The Optical Journal
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• v.11 no.4 s.62
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• pp.56-59
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• 1999

후지필름(주)이 지난 4월 새로 내 놓은 필름 뉴 수퍼리아 시리즈 기술의 핵심은 '제4감광층 기술(일명 뉴 리얼라 기술)'이다. 이것은 인간의 눈을 통해 본 것이 뇌에 도달하는 과정 중에 일어나는 변화를 필름에 도입하기 위해 억제와 색소 보정이라는 발상을 도입한 특허 기술이다. 이 기술을 채용한 필름은 기존 필름에 비해서 그린을 억제해서 옐로우가 보다 충실하게 재현된다.

• Proceedings of the Korea Contents Association Conference
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• 2014.11a
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• pp.331-332
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• 2014

21세기 포스터모더니즘 트렌드는 실존 인물인 예술가의 삶과 예술품을 다루면서, 회화, 조각, 스케치, 음향, 조각소리 등, 복합적인 콘텐츠 융합의 시청각 효과로 스토리의 시너지 효과를 낸다. 그럼으로써 내러티브의 진실성을 나타내는 것이다. 그러나 무엇보다도 신빙성 있는 탄탄한 증거자료 수집이 영화의 진실성을 뒷받침하고 있다.

• The Korean Publising Journal, Monthly
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• s.253
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• pp.11-11
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• 1999

80년대 문단이 문학의 사회성과 예술성을 둘러싼 리얼리즘과 모더니즘의 선명한 대립선상에서 파악될 수 있다면, 이념의 깃발이 내려진 90년대 문단을 지배한 것은 문학(비평)의 위기와 상업주의의 악마적 질주에 대한 문학적 대응이라고 할 수 있다. 선명한 진영은 해체되고 위기의 담론이 넘쳤으며 문단 상업주의는 더욱 노골화됐다. 따라서 90년대는 '중심'을 상실해간 시대에 진정성의 문학이 놓일 자리를 찾는 잡음과 소음의 연대로 기록될 것이다.

• Korean Institute of Interior Design Journal
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• v.25 no.1
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• pp.13-23
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• 2016

2014 Venice Biennale of Architecture, presented by general director Rem Koolhaas, has shown the distinct difference between his present displays and past displays. Under the theme of FUNDAMENTALS and ABSORBING MODERNITY, Rem Koolhaas has developed his own unique way which is a research-oriented display technique to explain the difference at the exhibition. The purpose of this study is to define a research-oriented display technique as realism rhetoric for the opened dialectic and identify its aspect of a methodic approach. This report investigated not only Rem Koolhaas's thought and theoretical approach through his work but also the comparison of between his present and past displays. His display is based on the constellation of Central Pavilion, National Pavilions, and Arsenale display and reflected the reality of architecture in self-deception through the metonymical interaction of various facts and records. Rem Koolhaas called it the composition of contradiction. In his work, the spatial situation which is the present has been made with the intervention of historical events and has revived the reality of architecture. Also, the present is a montage of the strict control of architecture, the isolation from the architecture itself, and the autonomic communication with other fields. Finally, as a result of his work, Rem Koolhaas has shown that his display is not the end of phase but a phase of creation.

• Journal of the Korean Society of Costume
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• v.65 no.1
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• pp.1-14
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• 2015

Magic realism, which originated in the culture of Central and South America, creates a fantastic fictional word by linking unrelated incidents using magical. The purpose of this study was to analyze Tarsem Singh's design characteristics that are based on magic realism in his movies, "The Cell" and "The Fall", and to highlight the artistic values appearing in the films. The research was conducted by observing the characteristics and concept of magic realism based on literature and preceding research, and discovering how Singh expressed these creatively and experimentally within the costumes in his films. The results of the study were as follows: Firstly, magical, legendary and symbolic characteristics appear within the fantasy of magical realism, and common techniques within film costuming include repetition of similar objects, solid silhouettes within scenes, and various decorative materials used for fantastic expression. Secondly, regarding ideality, the destruction of previous ideas and recreation of the present were found with materials and details used in film costuming to destroy previous ideas. Expressions of character through external decoration and depiction of living things as not living were also found. Thirdly, reiteration showed the coexistence of history and legend, reality and fantastic elements, and arrangement of opposing elements.