• Korean Association of Arts Management
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• 제56호
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• pp.305-327
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• 2020

This study started with the question of whether the museum oral history recording projects, which have been increasing steadily in recent years, are being used in various forms, especially in exhibitions. This paper is emphasized on the need for the oral history-related projects to lead to various museum activities including exhibitions and educations and so on. As a practical example of this, to explore the future directions and tasks for oral history projects in museums 'A Research Project of Producing Oral History Video Clips for the Exhibition of IMF Financial Crisis Situations' of National Museum of Korean Contemporary History is analyzed. This research argues that oral history functions as an exhibition representation device that more actively reveal the reality of a specific historical event. Therefore, this study suggests that the museum can be developed as a venue for various discourses in which citizens participate actively using oral history.

• Journal of the Korea Institute of Information and Communication Engineering
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• 제21권4호
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• pp.737-743
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• 2017

The intelligent life-log system proposed in this paper is intended to identify and record a myriad of everyday life information as to the occurrence of various events based on when, where, with whom, what and how, that is, a wide variety of contextual information involving person, scene, ages, emotion, relation, state, location, moving route, etc. with a unique tag on each piece of such information and to allow users to get a quick and easy access to such information. Context awareness generates and classifies information on a tag unit basis using the auto-tagging technology and biometrics recognition technology and builds a situation information database. In this paper, we developed an active modeling method and an application that recognizes expressionless and smile expressions using lip lines to automatically record emotion information.

• MISULJARYO - National Museum of Korea Art Journal
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• 제97권
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• pp.69-86
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• 2020

Haenghaeng Ilgi (Diary of a Royal Trip) (koo 7152; hereafter Ilgi) in the collection of the National Museum of Korea provides an account of Crown Prince Sado's incognito royal visit to Pyeongyang in the fourth month of 1761. Ilgi was written by Ham Daeil, a low-ranking military officer in Pyeongyang. Ham was singled out for praise by Crown Prince Sado (1735-1762) and served the prince from the seventh day of the fourth month to the first day of the fifth month. Ilgi documented the deeds of Crown Prince Sado during this period and provides detailed information on his incognito visit to Pyeongyang, which was not officially recorded. Ilgi shows characteristics differentiating it from many other diaries. For example, the quality of the paper, neat handwriting, and well-organized sentences differ from those of common diaries. These distinctions indicate that Ilgi is closer to an official document than a private diary written by an individual. Since Ilgi records Crown Prince Sado's incognito visit to Pyeongyang, is only vaguely known otherwise, its contents need to be examined in terms of whether or not they are fully factual. As the first step in such verification, It is traced that Ham Daeil's family history which turned out to match what is written in Ilgi. Moreover, Ilgi mentions about Prince Crown Sado's writing a piece of calligraphy, and a matching piece of calligraphy written by Sado still survives today. It can be confirmed that the contents of Ilgi are factual in at least these regards. However, although Crown Prince Sado was known to have met people from various social classes during his visit to Pyeongyang, Ilgi focuses only on Crown Prince Sado and Ham Daeil. This suggests the possibility that the surviving version of Ilgi may be an edited condensation based on original texts containing more complete information on Crown Prince Sado's visit. Ilgi is presumed to have been produced during the generation of Ham Jeonghui, a son of Ham Daeil. The dates of birth and death of Ham Daeil fall during the reign of King Yeongjo. It is unlikely that any records regarding Crown Prince Sado would have been published while King Yeongjo, who was hostile to Sado, ruled the country. Ilgi also provides strong evidence that Ham Jeonghui presented the subsequent king, King Jeongjo, with the calligraphy by Crown Prince Sado and the diary. It is unclear if the book Ham Jeonghui presented him was the same as the extant version of Ilgi. Nonetheless, considering the situation at the time when King Jeongjo was pursuing several projects to honor his father Sado, it is highly probable that Ilgi was produced during the reign of King Jeongjo. The periods of presenting the calligraphy and the diary respectively overlapped with the production of Hyeollyungwon, the royal tomb of Crown Prince Sado, and Sado's sixtieth birthday. Therefore, is it considered reasonable that Ham Jeonghui produced Ilgi to promote his own social ambitions.

• The Korean Journal of Archival Studies
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• 제68호
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• pp.151-204
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• 2021

Magazines also contain the daily lives of contemporary ordinary people. These characteristics serve as the possibility of daily archives. This study aims to build daily archives by analyzing the contents of the magazine Farmers' Life published in Daejeon for those archival values. To do that, it classified the articles that were published in Farmers' Life for 14 years from 1954 to 1967, it analyzed personal and organizational information, and also it implemented the daily life of farmers and rural society. The conclusion of the analysis on Farmers' Life summarized into following five points. First, the value of Daejeon private archives proved. Second, the personal information of people who were active in various fields of the society identified, and It classified by professional occupations such as politician, professor, agricultural scholar, doctor, and cartoonist, etc. Third, information on the organizations in the agricultural sector was able to collect that of some government organizations, public-private organizations, U.S. aids and 4H organizations. Fourth, certain evidence presented that help to correct the records that recorded wrongly or omitted or in need of speculation in the Christian Magazines, Literature and Art Fields. Fifth, the daily life of rural society and farmers classified into the series and organized into daily archives. This paper presented as a basic database to perceive the rural society and farmers' daily life in the 1950s and 1960s.

• The Korean Journal of Archival Studies
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• 제72호
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• pp.205-239
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• 2022

Park Yong-gil's personal letter 'To You' collection is a valuable historical document that contains aspects of modern and contemporary Korea, managed by the Late Spring Moon Ik-Hwan Memorial Foundation. These letters were written for about 10 years and 3 months, and there are currently about 2,304 letters left, and support is needed to secure social feasibility for long-term preservation of historical materials and to establish a stable record management system. The purpose of this article is to introduce Park Yong-gil's letter, which has not been introduced in earnest, to the archival community, and to comprehensively review the whole story and examine the tasks. To this end, the meaning of the letter in Park Yong-gil's personal life was examined, and the value of this letter was particularly highlighted in terms of being a letter written as a part of Okbaraji. And by investigating and analyzing the status of the archives, the internal and external characteristics of the letter were comprehensively analyzed. The characteristics of Park Yong-gil's letter identified as a result of the study are that it is a letter sent to one person, and it is accumulated with a considerable amount and aggregation. In particular, it is expected to have a diverse user base in that it is easy to empathize with because it contains the familiar subject matter of letters and the stories of contemporaries, and contains a variety of informational values about contemporary events and people. Based on these historical and cultural values and various useful values of the letter 'To you', various research and development of services should be made in the future.

• The Korean Journal of Archival Studies
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• 제74호
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• pp.45-78
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• 2022

South Africa implemented apartheid from 1948 to 1994. The main content of this policy was to classify races such as whites, Indians, mixed-race people, and blacks, and to limit all social activities, including residence, personal property ownership, and economic activities, depending on the class. All races except white people were discriminated against and suppressed for having different skin colors. South African citizens resisted the government's indiscriminate violence, and public opinion criticizing them expanded beyond the local community to various parts of the world. One of the things that made this possible was photographs detailing the scene of the violence. Foreign journalists who captured popular oppression as well as photographers from South Africa were immersed in recording the lives of those who were marginalized and suffered on an individual level. If they had not been willing to inform the reality and did not actually record it as a photo, many people would not have known the horrors of the situation caused by racial discrimination. Therefore, this paper focuses on Rise and Fall of Apartheid: Photography and the Bureau of Everyday Life, which captures various aspects of apartheid and displays related records, and examines the aspects of racism committed in South Africa described in the photo. The exhibition covers the period from 1948 when apartheid began until 1995, when Nelson Mandela was elected president and the Truth and Reconciliation Commission was launched to correct the wrong view of history. Many of the photos on display were taken by Peter Magubane, Ian Berry, David Goldblatt, and Santu Mofoken, a collection of museums, art galleries and media, including various archives. The photographs on display are primarily the work of photographers. It is both a photographic work and a media that proves South Africa's past since the 1960s, but it has been mainly dealt with in the field of photography and art history rather than from a historical or archival point of view. However, the photos have characteristics as records, and the contextual information contained in them is characterized by being able to look back on history from various perspectives. Therefore, it is very important to expand in the previously studied area to examine the time from various perspectives and interpret it anew. The photographs presented in the exhibition prove and describe events and people that are not included in South Africa's official records. This is significant in that it incorporates socially marginalized people and events into historical gaps through ordinary people's memories and personal records, and is reproduced in various media to strengthen and spread the context of record production.

• The Journal of the Korea Contents Association
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• 제20권6호
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• pp.64-76
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• 2020

This research wanted to examine what narratives and discourse were being formed in web drama contents young generations were going crazy about. To understand the characteristics of such love epics and to know what narratives were being formed based on narrative structures and comments, this research specifically used the web drama produced up to the season 4 for the first time in Korean web drama history with a large number of accumulated views. It was found that the narratives of the drama composed the romantic relationships of four couples as independent episodes, and realistically highlighted separations and reunions of those couples, and suggested concrete methods to solve agonies and conflicts they would experience in such relationships. And, in user comments, there emerged relational narratives confusing friendship and love between partners of opposite sex, narratives regarding the third person as enemy, and narratives on typical sex roles in such romantic relations. And, the culture seeking subjective love style and sharing and sympathizing with the love histories also appeared.

• Journal of Digital Convergence
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• 제18권11호
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• pp.485-491
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• 2020

The objective of this study was to explore the humorous scenes shown in animation such as types of humor, frequency of humor, hours of humor, and correlation between subject of humor and supporting role. As the subjects of research, this study selected and that recorded the ten-times different number of audiences even though both works were produced by the same studio called 'Odolttogi'. In the results of analyzing those two works, there were differences. Drawing the characteristics of humor, the frequency of humor should be a lot more shown in the early to mid part than the latter part, and there should be diverse types of humor. And the frequency of humor by main characters should be increased. When the types of supporting roles were more diverse, the tendency of humor was also shown diversely. Also, the humor that was formed within relationships of characters was more effective than the humor formed alone. Through the slapstick or linguistic comedy in which such interactions are shown into actions, more diverse verbal plays could be shown. These elements could make it possible for animated works to diversely express more creative and funnier scenes of humor.

• Cross-Cultural Studies
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• 제47권
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• pp.191-216
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• 2017

Among 20th century Western ideologies (Western civilization), existentialism is a spirit of the times to restore humanity as rationality and advanced technology have driven mankind to impoverishment and death, experiencing the First and Second World War, Great Depression, Fascism and the Spanish Civil War. In his literature, $Andr{\acute{e}}$ Malraux records his existential agony of how mankind lives and faces death by questioning the fateful life and death of characters. For Malraux's characters, the absurdity of existence related to the human identity means self-examination. Malraux explores existential consciousness and actions of characters in the presence of a concept known as death relative to terror, revolution, and adventure. Malraux deftly addresses the concept of death in his literary works, and it has being emphasized as a central subject for philosophical speculation. In Les $Conqu{\acute{e}}rants$(1928), La Voie Royale(1930), La Condition Humaine (1933), L'Espoir(1937), Malraux suggested a philosophical thesis of the meaning of life through characters in tragic situations, and sought out the consciousness of being and the existential meaning through how the characters control their fate. Malraux, in such a tragic perspective of the world, portrays humanity, affirmation of life, and characters' consciousness and actions in denying death. The agony of death triggers escapist behavior such as having unpredictable instinctual desires such as gambling or smoking opium, but these are desperate struggles to flee from frustration and related to the question of one's existence. What is always emphasized with respect to Malraux's existentialism is the tragic metaphysics of the inevitable destiny of the human condition eventually leading to the question of how humans ultimately confront death. But as characters unite in times of war, revolution and adventure in the novel, such cooperative actions symbolizes a keen sense of solidarity reflecting a camaraderie that transcends individualism. Fellowship among people who voluntarily gather for the common cause of philanthropy and restoring humanity is possible because of the underlying human greatness to sacrifice for such a noble cause. Therefore, Malraux's camaraderie includes the victory of existentialism in creating a world of humanism.

• Cartoon and Animation Studies
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• 통권39호
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• pp.111-132
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• 2015

Although Rotoscoping technique has been used for a long time to mimic the natural and smooth motion since the early 20th century, its artistic value was devalued as tricks because it traces the already recorded images. But the fact that the rotoscoping images can cross the boundaries between animation and live action in an infinite integral freedom in the digital era became rather expansive new aesthetic possibilities of representation of the reality. In addition, Jonas Odell's animations such as (2010), (2008), (2006) are good example to prove that the rotoscoping images also can serve as means to enhance its narrative. This study is to analyze how rotoscoping images act as a unique role in relation with the narrative based on the said person's real stories and realistic images. I argue that his animated films constantly contain these three characteristics -Images to mediate Auditory sensitivity as a record of inner metaphysical reality, anonymous images to represent a specific existential character, and images that act as physical representation that holds the physical space/time and related memory. This reveals that rotoscoping images in this digital era went beyond reproduction for natural movements or special type of style. It rather suggests new layers of experience, and acquires new value in animation. I hope that this study could serve as a foundation to rediscover and re-position the value of rotoscoping images as well as good opportunity to introduce very talented swedish animation artist who already received global attention with his unique philosophical and aesthetic style.