• Korean Journal of Heritage: History & Science
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• v.17
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• pp.386-408
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• 1984

• Korean Journal of Heritage: History & Science
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• v.47 no.3
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• pp.128-145
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• 2014

After independence, more introductory books on Korean culture were published in both Korea and Japan, along with various papers briefly presenting relevant materials. There are differences depending on the research field, however, a considerable number of articles about Buddhist paintings were published. Research on Korean sculpture was quite active among Japanese scholars. And numerous articles and publications on Korean painting were also presented in both Korea and Japan. Publications on Korean ceramics were increased as much as in other fields. From the late 1980's through late 1990's, research on Korean cultural properties continued to increase, as many young scholars began to conduct research very actively in Korea, producing many articles to introduce new materials. A small number of Japanese scholars also continued to research Korean cultural properties. The overall number of Korean researchers also increased, as existing scholars were joined by students who went to Japan to study and conduct research, thereby helping to significantly expand the area and topics of research. In this period, the exchange exhibitions between Korea and Japan were increased. Also the substantial research reports was began to be published by the national institution. From the early 2000 thrugh present, in all fields, research has progressed and improved since the late 1990's, with many individuals pursuing a microscopic approach to their artifacts and works. More graduate students have been focusing on Korean cultural properties in Japan as the subject of their master's or doctorial thesis in art history, and overall number of researchers in various areas has increased. In the field of Buddhist painting, painting, and Buddhist crafts some important books and articles have been published. However, research achievements have been somewhat uneven. In the area of ceramics, several significant examples of substantial research reports were published by the National Research Institute of Cultural Heritage. These publications are outstanding references that illustrate the future direction of research on Korean cultural properties in Japan.

• 프린팅코리아
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• v.10 no.5
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• pp.112-113
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• 2011

글로벌 시대에 한국에서 사업을 하는 일본 기업이 화제가 되는 것은 이상한 일이 아니다. 그러나 일본의 인쇄업체가 일본에서 수주한 인쇄물을 한국에 가져와서 한국 인쇄업체와 협력관계를 맺고 이를 생산하고 일본의 고객사에게 납품한다면 이는 조금 다를 것이다. 물론 현재도 일본에 인쇄물을 수출하는 국내 인쇄사들이 있다. 그러나 주로 재일교표를 대상으로 하는 경우가 많고 대형거래처를 안정적으로 확보하지는 못하고 있는 실정이다. 그런 의미에서 일본에 인쇄물 수출을 시도하는 국내인쇄업체들로서는 지난해 6월부터 한국에 진출, 자사에서 수주한 인쇄물의 일부 물량을 한국업체와 협력관계를 통해 작업해 일본으로 역수출하는 방식으로 사업을 진행하고 있는 일본(주)산아이의 사례는 좋은 계기가 될 것으로 보인다. 산아이의 야마시타 히로키 대표이사로부터 한국에서의 사업에 대한 이모저모를 들어 보았다.

• Korean Journal of Heritage: History & Science
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• v.52 no.1
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• pp.190-211
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• 2019

In March 2015, The Agency for Cultural Affairs of Japan implemented a project called "Japan Heritage," which aims to promote the unique narratives of cultural properties of the region by branding the locality for revitalization in preparation for the 2020 Tokyo Olympics and Paralympics. This bottom-up approach of cultural policy has been called a "Cool Japan Strategy of Cultural Heritage" in the 21st century, which effectively incorporates local cultural heritage and tourism. However, although a total of 67 Japan Heritage projects have been designated as of December 2018, almost none has been introduced in the academic forum in Korea. On the basis of this background and a lack of academic awareness in Korea on Japan's recent cultural policies, this research aims to focus on the three cases of Gunma Prefecture implemented in local, global, and glocal aspects. To specify, the cases are the "Gunma Silk Heritage" project, implemented in 2011, the "Tomioka Silk Mill and Related Sites" project that was included on the UNESCO World Heritage List in 2014, and "The Best Wife in the World - Silk Story of Gunma," case certified as the first project of "Japan Heritage" launched in 2015. Based on the questionnaire method conducted with the World Heritage Registration Promotion Division in Gunma Prefectural Government, as well as a literature view, the research revealed that the consecutive implementation of a series of cultural heritage projects in Gunma is not coincidental, but rather a strategy aiming to create a synergism where each project complements the others. Moreover, this paper demonstrates that Gunma Prefecture has been utilizing the local silk industry as a tangible and intangible cultural resource in multi-layered heritage projects, resulting in a "spiral synergy effect" and a "chain of the recognition process." In conclusion, it illustrates the recent trend of utilizing cultural heritage in the context of the Cool Japan strategy, which seeks to move away from the administration of maintaining the status quo cultural heritage protection to a proactive one with greater potential growth. This research may thus provide meaningful insight into the utilization of domestic historical and cultural resources as well as related policy-making, in that it will ultimately promote the chain effect of linking the multiple heritage policies and projects at the local, global, and glocal levels.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.13-51
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• 2021

As a case study, this paper historicizes the film culture in Namchon district in Keijo(京城) based on a preliminary research on the film ephemera produced during the colonial period. Through cross-examining articles appeared in Japanese newspapers and magazines at the time, this paper empirically reconstructs the Japanese settlers' film culture in Keijo, a colonial city whose cultural environment was ethnically divided into 'Bukchon' and 'Namchon.' During the silent era, movie theaters in the Namchon district not only played a role of cinema chain through which films imported and distributed by Japanese film companies were circulated and exhibited but also served as a cultural community for Japanese settlers who migrated to a colony. The film ephemera issued by each theater not only provided information about the movie program, but also connected these Japaneses settlers in colonial city, Keijo to the homogeneous space and time in Japan proper. Both as a minority and colonizer in a colony, these Japanese settlers experienced a sense of 'unity' that could 'distinguish' their ethnic identity differentiated from Koreans through watching movies in this ethnically segregated cultural environment. In doing so, they were also able to connect themselves to their homeland in Japan Proper, despite on a cultural level. This is a cultural practice that strengthens a kind of long distance nationalism. Examining Japanese film culture through film ephemera would not only contribute to the previous scholarship on modern theater culture and spectatorship established since the 2000s, but also be a meaningful attempt to find ways and directions for film history research through non-film materials.

• 프린팅코리아
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• s.41
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• pp.144-146
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• 2005

일본은 최근 들어 무수 평판인쇄에 대한 관심이 더욱 더 높아지고 있다. 기술적인 면에서의 개량은 개발 당시부터 계속 진행돼 오고 있었으며 현재 주목받고 있는 것은 환경 부하를 경감한다는데 초점이 맞춰져 있기 때문에 더욱 더 관심이 높아지고 있는 것이다. 본지에서는 무수 평판인쇄의 기술적인 변천과 최근의 일본 무수인쇄 동향에 대해 알아본다.

• 프린팅코리아
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• v.13 no.9
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• pp.124-127
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• 2014

전 세계 인쇄업계가 경기불황과 패러다임 전환에 따라 어려움을 겪고 있다. 일본도 예외는 아니다. 우리나라와 유사한 점이 많은 일본의 인쇄업계는 이를 극복하기 위해 어떠한 노력을 하고 있는지 알아보는 것이 중요한 참고자료가 될 수 있을 것이다.

• Nuclear industry
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• v.7 no.12 s.58
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• pp.15-17
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• 1987

일본은 작년에 원자력개발 30년을 맞았고, 금년에는 동력로$\cdot$핵연료개발 사업단이 20주년이 되는 해이다. 다음은 동연의 이사를 역임하고 현재는 ㈜신호제강소 고문으로 활동중인 중촌강치박사가 동연 20주년에 즈음하여 일본원자력문화진흥재단월보 '87년 10월호에 발표한 내용을 번역, 정리한 것이다.

• 공원문화
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• s.51
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• pp.37-41
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• 1991

이글은 최근 일본조일신문의 조일상을 받은 "세계의 식생으로부터 본 일본.녹(푸른숲) 회복의 처방안"의 필자 궁협 소씨의 글인데 일본인들은 마음속 깊은곳에 조엽수림문화의 모태인 숲이 있다는 것을 강조하고 있는 점은 우리와 비슷하다 할수 있다. 앞으로의 사회는 이공학자보다 생태학자를 우대하고 그들이 새시대에 대처하는 구도아래 도시계획.지역계획이 세워져야 한다고 역설하고 있어 작년 우리나라의 무분별한 녹지파괴의 현실을 개탄하는 우리들에겐 심금을 울리는 글이라 하겠다.

• Proceedings of the Korea Contents Association Conference
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• 2017.05a
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• pp.147-148
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• 2017

본 연구는 한국과 일본의 명승 지정 관련 정책을 비교분석한 결과, 한국과 일본은 법령의 제정 및 지정기준 측면에서 유사성을 지니고 있으나, 문화재보호법 제정이후 독자적인 명승정책의 시행이 이루어져 왔다. 일본은 정원을 중심으로 하는 인문명승이 주를 이루고 있었으며, 한국은 자연명승 중심에서 역사문화명승과 자연명승이 유사한 비율을 보이는 형태로 변화하였다.