• International Area Studies Review
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• v.22 no.1
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• pp.237-257
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• 2018

The distinction between high culture and popular culture is gradually weakening. Taste is becoming a new standard to distinguish culture. This research analyze sports film by taste cultural perspective. In perspective of Universality, and is Both emphasized the individual attitude of sincere effort. This can be interpreted as a capitalist ideology. Analyzing the two films as a global and local tastes culture, shows a new world that follows the birth of a star player and deifies the football beyond borders and races. shows the distrust of the system through the K-League Citizens' Club and the trust in individual who does their best in the meantime.

• Archives of design research
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• v.18 no.4 s.62
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• pp.195-204
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• 2005

This study was peformed to systematize the concept of taste being recognized as new cultural values, as well as to ascertain the looks and aesthetical values presented in modern fashion in terms of taste. Taste is the life style being pursued individually, a preference and the important factor that characterizes each individual among contemporaries. In particular, the fashion is an important means able to differentiate respective tastes. The taste-based looks including; the dandy-look, the kitsch-look, fetish-look, the grotesque-look, and the kidult-look, etc. are reviewed as cases. Those are well expressing the phases of each times. The looks reflecting contemporaries' various tastes, are symbolic means showing the positive expectations on the present and the future. The looks are unifying fashion and society, and the designers are able to be key roles satisfying customer's taste by presenting of their collections. It is expected that the outcome of this study may provide academic basis of the tastes and a framework of interpretation of the tastes and fashion looks within culture by the aesthetical values presented as fashion.

• The Journal of the Korea Contents Association
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• v.12 no.6
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• pp.201-210
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• 2012

This study examines the structure of taste repertoires for cultural arts. The major results are as follows: firstly, the numbers of taste repertoires were 1.66 for type 1 and 4.27 for type 2. More specifically, respondents tended to have movie taste. Secondly, there were socio-demographic differences for taste repertoires for cultural arts. In other words. female respondents to have more taste repertoires than that of male respondents. Also, younger respondents to have more taste repertoires than that of older respondent. Thirdly, blog users tended to have more taste repertoires than that of non-users. It can be argued that blog use may be a determinant of the number of taste repertoires for cultural arts. In addition, although the number of taste repertoires type 1 was determined by tastes for theatre, movie, popular music, musical and photo, the number of taste repertoires type 2 was determined by tastes for theatre, movie, musical and classic contents.

• Cross-Cultural Studies
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• v.40
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• pp.41-60
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• 2015

This article aims at exploring the convergence and sharing of cultural tastes among Northeast Asian countries by analyzing TV drama "Boys over flower", based on the original Japanese manga and produced in Korea, China, Japan and Taiwan in the $21^{st}$ century. It explores the expectation and desire of the mass who have taken pleasure in watching it in each country as well. This article argues that the sharing of the sensitivities and tastes of young women, the main consumer of the drama, by the mass of the four countries, are an important cultural phenomenon in that it reveals the emergence of "girl" as an active cultural consumer, who had been the object of a restraint and strict protection of the bourgeois family structure.

• Korean Journal of Heritage: History & Science
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• v.51 no.4
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• pp.192-207
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• 2018

The Hyangwonjeong and Chwihyanggyo located in the back garden of Gyeongbokgung Palace have mainly been investigated by referring to historical records about the reign of King Gojong and various drawings thought to have been made in the late Joseon period. Because the current Chwihyanggyo was rebuilt temporarily after being burned to the ground during the Korean War, its form and the location of its reconstruction are not grounded on any accurate historical investigation. Although there are some photos of the Chwihyanggyo that were taken between the end of the Joseon period and the Japanese colonial era, there is no information about the photographer or when they were taken, and it is hard to see which photos show the original Chwihyanggyo Bridge with them. The Cultural Heritage Administration, which is currently promoting the restoration of the Chwihyanggyo, has recognized this problem and initiated research on the matter. In 2017, an excavation survey successfully identified the original location of the Chwihyanggyo, as well as that of Hyangwonji Gado (假島), and the shape of the first foundation stone in the pier. With these findings it was possible to infer the ways in which the Chwihyanggyo has changed over the years. Moreover, by measuring the AMS (Accelerator Mass Spectrometer) of the samples collected in the mounding layer of the Gado where the Hyangwonjeong is located, it was discovered that the Hyangwonjeong was constructed sometime after the Imjin waeran (Japanese Invasion of Korea in 1592), which means that the theory that 'the late Joseon Hyangwonjeong was not the former early Josenn Chwirojeong' is groundless. Judging by the materials found to date, we can reasonably assume that the Chwihyanggyo and Hyangwonjeong must have been built around the same time that Geoncheonggung Palace was founded in the late Joseon period.

• The Journal of the Korea Contents Association
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• v.10 no.2
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• pp.165-175
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• 2010

This paper claims the argument that the taste of own is not the intrinsic value but is determined by the environment or habitus, based on Bourdieu's theory. This concept of taste leads up to a natural stream of imitation and alignment. We conclude that the stream is the fashion which be justified by the major agreement. But the nature of fashion exists in hegemony and determines a sense of kinship or a point of difference. In this regard, popular cultures as a window circulated fashion have a negative consequence that can be method of discriminating the minority and justifying vested rights. Accordingly, we have to become wary of the strategy of control using fashion and popular cultures, and need to recognize the prior paradigm about fashion. In the process, we can expect that fandom or counter cultures based on digital high technology constitute subjectivity and dynamics of popular by interaction between the objects.

• Archives of design research
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• v.17 no.2
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• pp.157-170
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• 2004

As a virtual identity on the virtual space, Avata is expressed in the various graphic forms such as 2D and 3D. Avata is not just combination of characters, but it also reveals the cultural Avitus of the times or the society, which often represents the discrimination according to the generation or social stratum or the unconscious choice of popular culture The modern days are absolutely influenced by the popular culture. And, it is also the case in the virtual space as well as the real world, influencing the fashion trend, cultural taste, and even the behavioral pattern of individuals. Hereupon, through an analysis of cases of using Avata character graphic, we are going to look into the technical ways of expressing Avata and the overall pop culture trend and individual life pattern and taste which are shown in the choice of outfit, necessaries, and background. And, we will also find out the kitsch characteristics in the consumption of Avata. And, we also expect that the image of Avata would be developing into a positive identity demonstrating one's existence on the virtual space, not simply a meaningless choice and combination of image in expressing and consuming Avata.

• Korean Association of Arts Management
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• no.52
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• pp.5-37
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• 2019

Despite a copious volume of work on the relationship between social class and cultural consumption, scholars have paid scant attention to the increasingly apparent observation that a vast majority of the population exhibits indifference toward fine arts regardless of one's socio-economic status. Much of the prior literature on cultural consumption has treated the public's indifference to fine arts not as a distinct analytical category that deserves an explanation of its own, but simply as the opposite of "likes" or the act of consumption, let alone being disentangled from the concept of "dislikes" in taste-formation and consumption behavior. In this paper, we suggest that the seemingly increasing trend toward indifference to fine arts, especially among those who are part of the well-educated and economically well-off, merits close scholarly attention on its own term. As an initial step toward this endeavor, we explore the factors behind indifference toward fine arts among Korean middle-class, using the ground theory method. Our interview findings reveal that much of indifference toward fine arts is attributable to the lack of tastes in fine arts and artistic competence. Our results suggest that research drawing on Bourdieu's theory and Peterson's omnivore hypothesis needs to be further revised through an in-depth investigation of the institutional and societal contexts where art education takes place in Korea. We discuss the implications of our findings for policy-making in the cultural and artistic sphere.

• Proceedings of the Korea Society of Costume Conference
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• 2003.05a
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• pp.47-47
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• 2003

산업화된 현대 사회의 다양한 대중 문화 속에서 새로운 미적 가치를 지니며 하나의 문화 현상으로 나타나고 있는 키치(kitsch)는 기성세대의 사고 방식을 부정하고 기존의 고정관념에서 벗어나 파괴라는 형태를 통해서 자신을 부각시키는 미적 부적절성을 내포하고 있다. 본 논문에서는 키치의 대중적인 취향과 미적 특성의 실증적인 자료를 통해서 97년 이후의 키치적 요소의 헤어스타일을 분석하였다.

• The Korean Publising Journal, Monthly
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• s.176
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• pp.13-13
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• 1995

대중음악이 영화와 함께 당대의 문화를 규정하는 지배적인 장르이긴 하나 아직 그에 관한 '사유'의 문은 열어젖히지 못하고 있는 게 현실이다. 브로마이드성 짙은 십대 취향의 잡지나 쉴 새 없이 쏟아지는 노래악보집 정도가 고작이다. 그런 가운데 최근 젋은 이론가들이 저널리즘 지평에 속속 모습을 드러내고 있다.