• Journal of Fashion Business
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• v.19 no.2
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• pp.118-135
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• 2015

This study probed into the fashion of modern girls between the 1920's and the 1930's who led the mentality and fashion of women as the progenitor of the alpha girl in Korea. For this, the fashion of actual people who received attention as modern girls in various occupations and that of modern girl heroines reinterpreted in films were examined. Methods included the theoretical study based on fashion related newspaper articles at the time, specialized publications, advance researches, and internet data and the empirical study that involved contents analysis centering on visual data. The Western women's fashion between the 1920's-1930's was dominated by the garçonne look to promote women's entry into society and competition against men and the practical and mature long and slim look due to the influence of economic recess. Korean people also adapted Western clothes following Western fashion while also modified the traditional clothes and wore modified Korean clothes. The fashion of 5 actual modern girls of Korea and that of 3 film heroines were examined. The fashion of actual people most well represented the fashion trends at the time and that they used fashion as the means to express their mentality and their artistic propensity and professionalism were expressed through fashion. On the other hand, the fashion of film heroines substantially expressed various occupations of the characters in the film and reflected trendy clothes and cosmetics, and it showed sexy and romantic fashion trend due to the influence of modern trends and reinterpretations.

• Cartoon and Animation Studies
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• s.30
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• pp.245-262
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• 2013

This paper analyzes three feature films that are based on Brothers Grimm's "Snow White": Disney's Snow White and the Seven Dwarfs (1937), Tarsem Singh's Mirror Mirror (2012), and Rupert Sanders' Snow White and the Huntsman (2012). Disney's animation, not the original literature, is the archetype of the later films. Grimm's fairy tail does not include the kiss of Prince Charming that saved Snow White which is, in fact, borrowed from "Sleeping Beauty", nor Snow White's rapport with animals. In Snow White and the Huntsman 's case, the costume of protagonist is similar with Disney's film and some shots are almost identical with Disney's version in terms of composition and angles. Nevertheless, these films show their originality with markedly different visual styles. Mirror Mirror and Snow White and the Huntsman have achieved reasonable success at the box office despite of relatively simple and predictable narratives due to the power of spectacle. While Disney's Snow White displays the model of witch that later becomes prototype of many movies, Mirror Mirror represents the unique magical world, a trompe-l'oell that can only done by director Tarsem, and Snow White and the Huntsman successfully visualizes Freudian concept of 'the uncanny' itself.

• The Journal of the Korea Contents Association
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• v.18 no.11
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• pp.205-212
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• 2018

Learning how to express and express the characteristics of acting expressions required by different media is easy to express the acting required in various mediums. The style of acting required by each medium is different depending on the characteristics of the medium. In particular, digital acting using computer graphics technology expresses actors as if they are in the space by imagining the imaginary space. Through computer graphics post-production, the actual space that will be visible on the final screen is completed and creates a story based on the actual situation. The role of digital actors in applying motion capture to movies is becoming increasingly important. Natural cross-reaction acting between live-action actors and digital character actors has become a trend in animation films where only digital actors appear. In animation films, a real actor plays a major role in connecting the characters of a digital actor. The core of a digital actor is the realization of a unique character performance. In the era of trans-media, the importance of digital acting is increasing day by day.

• Journal of Korea Entertainment Industry Association
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• v.14 no.6
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• pp.77-89
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• 2020

The film "Parasite" portrays Korea's history and its present in a space that clearly represents the real world's hierarchy as a vertical structure. It demonstrates the problems of an insurmountable reality and the elements of various conflicts occurring below the surface of Korean society through a complex mix of human emotions and relationships. The most realistic yet unrealistic characters cross boundaries between being victims and perpetrators, defamiliarizing ordinary scenes from everyday life through their small mistakes, strange obsessions, bizarre behavior, anxious psychology, and desperate struggles. This study analyzes the expression of the film "Parasite" through its characters with the belief that the film expresses director Bong Joon-ho's consistent cinematic philosophy of taking reality beyond the traditional rules of film genres. By doing so, Bong creates a feature of the expression that shifts genres as the characters' personalities amplify related behaviors, conflicts and questions, and that this is the core of the unique nuance and distinct humor of this film. In addition, the personalities of the characters interact with all the film's elements (cinematic techniques, space, props, etc.), evoking effects of various meanings, which are transmitted through the actors'images and acting. In this respect, the study analyzes how the actors were cast in order to realistically reproduce the characters of the actors, how their acting was harmonized with the film's elements, and its features as well as how they were expressed.

• Journal of Broadcast Engineering
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• v.12 no.5
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• pp.391-400
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• 2007

The ways of expression are infinite to make animated film. When we compare to live action film, that fact is the actual power that animation only has and is one of the big weapons to appeal to the audience. Nonetheless, techniques to be chosen are monolithic like drawing, 3D computer, and clay when animation maker makes feature animation to screen in movie theatre. It's probably because feature animation must have popularity of visual style and they need to standardize technique about side of making. But popularity in expression does not mean monolithic visual style and making technique. It should be understood about side of artistic value to fascinate public audience. Audience is always eager for new subject, new directing style and new visual style. Monotonous and boring animation cannot but turn away from the audience. So if production does not have artistic value, we cannot expect commercial value and success also even it plans and makes for the feature animation. To create new visual style fnr animation is not only limited to artwork itself but also creation, which is included story and tone of the film and acting style about character. Also making process must be calculated and experimented to actualize that visual style about side of making.

• Journal of Fashion Business
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• v.5 no.1
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• pp.73-85
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• 2001

The purpose of this study is to understand what the Glam Style is, focus on the movie "Velvet Goldmine". The Glam Style is refered early 1970s Glam rockers' costume, typified by silver lurex, corksoled platform, men in make-up, personified, for example, by David Bowie, Marc Bolan, New York Dolls, Roxy Music and Iggy Pop. To approach the Glam Style comprehensively, I have divided the formative background of Glam Style into the improvement technology, the advent of the young generation and the diffusion of mass media, the rock music fever and influence on Pop art. Following is the result of analyzing of the character in the movie. First, Brian Slade has the flamboyant transsexual image by skin-tight space suit, glitter pants, lurex, satin and sequined stretch fabrics, vivid color, gauze make-up, feather boa. Second, Curt Wild expresses the outrageous sexual image by black leather jacket, emphasized black eyes make-up. Third, Mandy Slade appears the exaggerated and frivolous image by gold leopard patterned one piece, fur coat, ornamented with beads, tropical make-up, spangles and the costume jewelry. Forth, Auther Stuart has the complex image by black leather jacket, velvet jacket, skin-tight bold shirt, glitter pants, glitter make-up, silk scarf, cherry-red sunglasses. The characteristics meaning of Glam Style implied in this formative characteristic could be presented as the experimental expression of androgynous, the hordes of outrageous alien and kitsch parody.

• Archives of design research
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• no.16
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• pp.65-74
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• 1996

It IS of great significance that russian artists created their own avant- gard arts, based on russian traditional culture comprehending new artistic trend from the Western Europe. After ttle Russian Revolution, russian artists participated voluntarily to the change of sOCIety. They were heading for the reach of socia 1st's utopia in the field of culture (painting, movie, architecture, play etc) Therefore , new socialist's society needed artistic Institution like the Vchutemas. The aim of thiS school IS to prepare highly educated artists to Instruct and direct In professional and technic education. RUSSian avant-gard artists gave lessons about the new didactics of the Vchutemas on the principals of ConstructiVism and Functlonlsm. They Influenced the Bauhaus school and western european designs.

• Archives of design research
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• v.12 no.2
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• pp.185-196
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• 1999

It has been known that deconstruction has affected various fields as literature, architecture, an, film, industrial design, and so on. Especially, deconstruction has applied into a wide scope of the design related fields through diverse ways and the results also show that there is a great potentiality in the ways of it's expression with different styles. Deconstruction design has been approached in connection with post-modernism, deconstruction theory of J. Derrida and pluralistic post industrial society. In particular, it is obvious that deconstruction philosophy has deeply affected the fields of visual design and typography which are mostly communicated with symbols and texts. This study intends to examine how the deconstruction theory has been practically applied into the typography by analyzing the change of deconstruction typographic styles and exploring the distinctiveness of the change.

• Journal of the Korea Society of Computer and Information
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• v.18 no.5
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• pp.157-165
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• 2013

The mid-20th century witnessed a wide spread of Korean culture in Japan, China and Southeast Asia and China now has become the biggest trade partner and export market, as well as the No. 1 source of import and the biggest investment country of Korea. With the spreading of the Korean popular culture in China, brand loyalty to Korean products is improved. Taking the Chinese market as the basis, this research aims to make an analysis of the implications of 'Korean Wave', Korean advertisements and the image of Korea on brand loyalty to cosmetics made in Korea. To achieve the research aim, questionnaires were used in conducting the survey, mainly in Beijing. Excluding the invalid ones, altogether 180 questionnaires were collected, based on which an empirical analysis was carried out on the correlation between 'Korean Wave', effects of Korean advertisements, image of Korea, brand recognition, and brand loyalty to products made in Korea. The major analyzing tools are SPSS 20.0 and AMOS 20.0. The findings are as follows: 1. Korean films, dramas, and attachment for Korean movie stars (representative of 'Korean Wave') all have a positive influence on brand loyalty. Recognition of the country image of Korea, to some extent, also has positive implications on brand recognition. 2. Empirical analysis assists in the testing of the degree of recognition and attachment of cosmetics made in Korea, as well as brand loyalty to them.

• Cartoon and Animation Studies
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• s.45
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• pp.177-195
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• 2016

This article analyzes Sergei Eisenstein's acting theory, which is famous for his Russian montage. According to the existing discussions, he avoids the psychological realism through the concept of cut acting. It is a method like montage from the viewpoint that the practice of the cut action is segmented into shots. While Vsevolod Pudovkin, who asserts a connection montage, is looking for performance to portray a gradual change of emotion adopted by Konstantin Stanislavsky's psychological realism, Eisenstein prefers the acting of Vsevolod Meyerhold's masks in the same manner as the collision montage. This article traces the viewpoints on acting and actor that Eisenstein posed throughout his montage theory. It focuses on Film Sense(1942) and Film Form(1949), which are a collection of articles written by Eisenstein. As a result of examining the domestic and foreign literatures centering on Korean and English, it is hard to find the discussions on the analysis of Eisenstein's acting theory. Almost all of them are concentrated in his montage, among which the mention of acting is extremely limited. The cut acting, the typage, the inner techniques and processes of actor that express and induce the living emotions, and the acting of the integrating into diversity as one of the inner language are useful concepts in the creation and case analysis of contemporary films. Especially, his acting theory can be applied in the creation process of cartoons, webtoons, and animations which can meet the most decisive and impressive montage technique of Eisenstein. It is also possible to find many related cases for the analysis. This is why I look back on Eisenstein's film acting theory, and the results of the discussion will be a sufficient foundation for the derivation of related research.