• Trans-
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• v.2
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• pp.161-190
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• 2017

As times progress, creative change is achieved by attempts to embrace different needs. These attempts are expressed as the form of an Object which pulls down the barriers of genre between art. There is now in fact difficult to find a work that doesn't contain the characteristic of an Object. The necessity of this study is that it tries to approach an Object with a holistic perspective and understand it as a single system. It also tries to analyze the roles that an Object's characteristic and expression and the research ways they influence the dance work by contemplating the aesthetic discussion process of an Object in the art field. Also, by researching the characteristics of expression and how Objects stimulate a dance work, this study will take an important part in developing the dance works. Based on this necessity, this research choose the works of William Forsythe, (2006), (2009), (2009) which clearly depicts the expression characteristics of an Object. It is noted that the usage of an Object maximized creativity and brought expansion of expressions in a dance performance by using diverse mediums, body actions and even nonmaterial components without losing the essence of a dance. As a result, this usage of an Object provides theories that bring the enlargement of expression and suggests various ways to overcome the limits of other existing dance works.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.2
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• pp.46-53
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• 2018

The background of this study was to consider regenerative environmental characteristics and develop foundations for conceptual grounds and applications in embodying sustainable garden designs demanded in our age. In doing so, this study aimed to have a conceptual understanding of Clement's garden theory influenced by Robinson's naturalistic distinction and compared it with Robinson's wild garden, and the results are as follows: First, for Clement, garden design included an ecological process to settle in the target site as aesthetics of space being formed by the movement of plants. In this sense, making a 'garden in motion' implies to design possibilities to adapt to nature based on trust in it and allow plant seeds not to be planned but to naturally go and find appropriate habitats. Second, the views to wildness can be separated into microscopic and macroscopic views and each has its own expressive characteristics. Robinson's gardens are small and subordinate and play mollification functions for existing spaces. On the contrary, Clement's gardens are the subject of the space, represent macroscopic strategies, and have top-down approaches embodied as infrastructure to play central roles in the ecology. Third, Robinson's and Clement's views to the operation of garden spaces acknowledge the inseparable relationship between nature's autonomy and gardens' wildness and deliver a value that the preservation of nature is a prerequisite to coexistence with the life we desire. Their gardens are analogized by interventions of environmental possibilism and ecological standpoints mediated by plants based on the perspective of environmental determinism.

• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.50-73
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• 2009

Recently old stone walls were designated as registered cultural properties that meant an extension of categories about cultural properties from a spot area to whole area. Moreover given the changing situation of residential pattern, which is due to rapid social change, this designation can be seen as a significant measure to keep as intact as possible traditional landscapes in agricultural and fishing villages. In this paper, I analyze the symbol system and meaning of old stone walls and attempt to pick out the cultural elements which are related to them. These days we have made efforts to various aspects for which make traditional cultural resources into cultural contents. But many studies had done before emphasized aspects for beauty only. Especially existing studies about an old stone wall was mainly focused on architectural interpretation and tourist route. So we need to build a plot around oral research and need a creative approach for sharing with tourists. Cultural contents combine the original form, potential and capabilities with media by detecting original form of culture and finding out the worth and meaning. In this paper examined the probability of using by investigating a stone wall in Sang-hak Village that is related with recovering of places to live in contemporary society and finding cultural contents. I suggest more creative ways to make cultural properties into tourist resources by considering the possibilities of place marketing using storytelling, based on an analysis of data gathered.

• The Journal of the Convergence on Culture Technology
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• v.5 no.2
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• pp.59-65
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• 2019

This study examines how cinematic texts are used in movies through Lee Jun-ik's 2015 film, and what narrative and visual effects are obtained through them. This film portrays poet Yun Dong-ju as a central figure and chooses to reconstruct his life. The movie, , used Yun's poetry as a device to maximize the lyricism of the film and to suggest a change in the fate of the character and the inside. In other words, uses Yun Dong-ju's poetry to aesthetically express the inner change of the characters in the film and the sensitivity of the film. Through this, I visualize Yun Dong-ju as poet Yun Dong-ju, a poet who was stuffed in literary books, as a normal literary youth. It is also a reminder of the weight of the reality that the present youth is experiencing and the problem of an individual living in history. In this respect, the movie is a major text that depicts the poetry and poetry of the time, and the age of poet through the media. 'Poetry' as the text of the text delivered with the image maximized the lyricism of the image and led to high aesthetic achievement. Through poetry and poetry, it can be regarded as the main text approaching the problems of history, individual, literature and reality.

• The Journal of the Convergence on Culture Technology
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• v.9 no.2
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• pp.215-220
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• 2023

Network technology used as a physical interface to retrieve, store, and exchange data is leading the era of data capitalism in the 21st century. The capacity of network technology dominates almost all communication in everyday life, and makes social understanding and experiences in the physical world visible in cyberspace. The movements of human bodies and objects in cyberspace are placed in a social context. This paper paid attention to these phenomena and examined the cases of activism that raised real problems through cyberspace. In particular, the focus of the study is the digital activism of the Electronic Disturbance Theater, which combines critical art and thinking for democracy with the realm of information and demonstrates aesthetic imagination. The first chapter of the main body briefly outlines the meaning activism as a social movement in cyberspace. The second chapter looks back on the alternatives of <FloodNet>, which represents the early activism performance of EDT. And then in the last chapter, the poetic significance of the <Transborder Immigrant Tool> is analyzed. Through this process, this paper demonstrates that the activism performance of the EDT is a critical aesthetics that encourages imagination for alternatives. It also argues that Electronic Disturbance Theater has contemporary value as an avant-garde art that actively utilizes the medium of network technology and integrates performance art and politics.

• Journal of Popular Narrative
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• v.26 no.1
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• pp.175-209
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• 2020

This paper examines how the cinematic representation of the Japanese military "comfort women" stimulates 'imagination' in the realm of everyday life and in the memory of the masses, creating a common awareness and affect. The history of the Japanese military "comfort women" was hidden for a long time, and it was not until the 1990s that it entered the field of public recognition. Such a transition can be attributed to the external and internal chronopolitics that made possible the testimony of the victims and the discourse of the "comfort women" issue. It shows the peculiar status of the comfort women history as 'politics of time'. In the same vein, the cinematic representations of the Japanese military "comfort women" can be found in similar chronopolitics. The 'comfort women' films have shown the dual time frame of the continuity and discontinuity of the 'silence'. In Korean film history, the chronotope of the reproduction of "comfort women" can be divided into four phases: 1) the fictional representations of "comfort women" before the 1990s 2) documentaries in the late 1990s as the work of testimony and history writing, 3) melodramatic transformation in the feature films in the 2000s, and 4) the diffusion of media and categories. The purpose of this article is to focus on the first phase and the third phase in which the issue of 'comfort women' is represented in the category of popular fiction films. While the "comfort women" representations before 1990 were strictly adhering to the framework of commercial movies and pursued the sexual exploitation of "comfort women" history, the recent films since the 2000s are experimenting with various attempts in the style of popular imagination. Especially, the emergence of 'comfort women' feature films in the 2000s, such as Spirit's Homecoming, I Can Speak, and Herstory, raise various questions as to whether we are "properly" aware of issues and how to remember and present the "cultural memory" of comfort women. Also, focusing on the cinematic representation strategies of the 2000s "comfort women", this article discusses the popular politics of melodrama, the representation of victims and violence, and the feature of 'comfort women' as meta-memory. As a melodramatic imagination and meta-memory for the historical trauma, the "comfort women" drama shows the historical, political, and aesthetic gateways to which the "comfort women" problem must pass. As we have seen in recent fiction films, the issue of "comfort women" goes beyond transnational relations between Korea and Japan; it demands a postcolonial task to dismantle the old colonial structure and explores a transnational project in which women's movements and human rights movements are linked internationally.

• (The) Research of the performance art and culture
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• no.43
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• pp.47-78
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• 2021

This study was written to examine the acceptance of pansori in movies based on pansori, and to explore changes in modern society's perception and expectations of pansori. A pansori is getting the love of the upper and lower castes in the late Joseon period, but loses the status at the time of the Japanese colonial rule and Korean War. In response, the country designated pansori as an important intangible cultural asset in 1964 to protect the disappearance of pansori. Until the 1980s, however, pansori did not gain popularity by itself. After the 2000s, Pansori tried to breathe in with the contemporary public due to the socio-cultural demand to globalize our culture. And now Pansori is one of the most popular cultures in the world today, as the pop band Feel the Rhythm of KOREA shows. The changing public perception of pansori and its status in modern society can also be seen in the mass media called movies. This study explored the process of this change with six films based on pansori, from "Seopyeonje" directed by Lim Kwon-taek in 1993 to the film "The Singer" in 2020. First, the films "Seopyeonje" and "Hwimori" were produced in the 1990s. Both of these films show the reality of pansori, which has fallen out of public interest due to the crisis of transmission in the early and mid-20th century. And in the midst of that, he captured the scene of a singer struggling fiercely for the artistic completion of Pansori itself. Next, look at the film "Lineage of the Voice" in 2008 and "DURESORI: The Voice of East" in 2012. These two films depict the growth of children who perform art, featuring contemporary children who play pansori and Korean traditional music. Pansori in these films is no longer an old piece of music, nor is it a sublime art that is completed in harsh training. It is only naturally treated as one of the contemporary arts. Finally, "The Sound of a Flower" in 2015 and "The Singer" in 2020. The two films constructed a story from Pansori's history based on the time background of the film during the late Joseon Dynasty, when Pansori was loved the most by the people. This reflects the atmosphere of the times when traditions are used as the subject of cultural content, and shows the changed public perception of pansori and the status of pansori.