• Cartoon and Animation Studies
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• s.27
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• pp.31-49
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• 2012

This research aims at showing specificity of the 'fantastic' in the movie < Les temps morts (on 1964) > directed by Ren$\acute{e}$ Laloux (1929-2004 ), all over the world recognized director. This movie has a particular style by composing four forms of expression: the real recording (movie), the recording embellishes with images by image (animation), the drawing, the photo. This film is the most strange among his all films. Even if we could catch the key meaning of the film, it offer for the audience the sentiment incertain and unclear. If we consider 'the fantastic' as a hesitation between the real and the unreal, in diverse levels, this movie offers to the spectators the fantastic feelings. In order to present the way this film shows us the fantastic, we divide the film into 15 sequences according to the criteria of the visual elements and the auditive elements. We analyze specificities of this fantastic in diverse levels. At first, the first style of the drawing of Roland Topor, does not let us escape easily from the feeling of fantasy. The four representation formats(drawing, photo, animation, movie) are integrated into one whole by auditive elements(music, narration). On the other hand, certain parts incomprehensible are not integrated into the entire. are fully integrated into the unity that does not understand that part, leaving them can. Laloux leads the audience into a reality toward the end of the film, but he leave incertain sequences at the last moment. Through which the audience is again hesitant between the real and the unreal, the fantastic is strengthened as a result of the work. Finally, the fantastic of the film could be found at three levels. First, the fantastic drawing style of Roland Topor. In the second place, the fantastic exposed through the entire composition and structure of work. Overall, these by leaving through the availability of the story incomprehensible to the audience is to provide a fantastic sentiment.

• Proceedings of the Korea Database Society Conference
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• 1997.10a
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• pp.358-375
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• 1997

가. 패션 디자인 기초 정보 수집/분석 - 국내외에 산재하는 패션디자인 정보의 기초자료를 입수 - 디자이너별/ 컬렉션별/주제별로 분류 - 가공 나- 패션디자인정보의 멀티미디어 DATA BASE개발 - 화상(IMAGE)/해설(TEXT)/ SOUND의 복합 DATA BASE SYSTEM - PC통신망 서비스를 위한 DATA개발 다. 패션디자인 관련자료의 DB화 - 패션디자인 이론서 - 패션디자인 컨테스트 / 이벤트 정보 - 패션디자인 교육기관 정보 - 패션브랜드 정보 (내셔널 / 디자이너 / 수입) 라. DATA BASE 공급 서비스 - PC통신망을 통한 서비스(DOWN LOAD 가능) - 디자인작품 IMAGE 및 CONCEPT/ DETAILS/ CAPTION - PC통신을 이용 디자인 인력 구인/구직정보 활용 - 패션디자인 해외유학 정보 마. Inter-NET 서비스 - Inter-NET을 이용 국내디자이너작품 해외 소개(중략)

• Proceedings of the KAIS Fall Conference
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• 2010.05b
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• pp.876-879
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• 2010

본 논문에서는 음악이 음악 아닌 다른 대상의 이미지나 분위기를 의미 있는 구조로 만들어주는 연상 작용을 전제로 하여 하나의 음악적 아이디어, 선율 라인, 또는 음악 스타일이 영화 속 캐릭터와 결합되는 예들을 실제 작품에 근거해 고찰하였다. 여기에 포함된 음악 자료는 1950년대를 전후한 미국 영화의 주요 작가들의 작품들로서, 영화의 결합력에 기여하는 음악이 주로 어떤 방식으로 특정 인물이나 집단, 상징적 의미 등을 캐릭터화 하는가를 분석하였다.

• Proceedings of the Korea Contents Association Conference
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• 2019.05a
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• pp.81-82
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• 2019

홍콩은 독특한 영화문화를 탄생시켰고, 그 특징을 이어오고 있다. 특히 최근에는 포스트모더니즘의 흐름을 잇는 작품이 잇달아 등장하면서 독특한 경향을 형성하고 있다. 이에 본 연구자는 포스트모더니즘을 이어가는 홍콩영화의 의미와 의의에 대해 연구하여 그 미학적 특징을 밝히고자 한다. 특히 <중경삼림>의 작품을 중심으로 그 특징을 분석하여 영화의 해석과 제작에 기여하고자 한다.

• Proceedings of the Korea Contents Association Conference
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• 2019.05a
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• pp.393-394
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• 2019

본 연구는 자연주의 이론을 근거로 도예 벽화 창작 속 4가지 평가 요소를 정리했다. 아름다움, 기능성, 생태성, 상징성을 통해 중국 도예 벽화의 대표 인물 주러겅(朱?耕)의 작품을 분석했으며, 결과는 아래와 같다: 이러한 자연주의 스타일 작품은 뛰어난 미적 가치를 가지며, 인본주의 표현방식은 사람들에게 자연에 돌아온 느낌을 주어 자연과의 관계를 다시 생각하게 만든다. 자연주의는 도예벽화에서 기능성과 생태성으로 나타나며, 환경과 공간의 새로운 의미를 끊임없이 재정의할 뿐만 아니라, 도예벽화의 새로운 발전의 길을 제시한다.

• Journal of Conservation Science
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• v.37 no.5
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• pp.516-524
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• 2021

The 'artist's intention' plays an important role in the conservation process of contemporary art. Accordingly, the information on artworks owned by the artist, their bereaved family members, and foundations that have decision-making power is important. The artist's interview is the kind of data that can clear 'artist's intentions' to ensure reliable conservation treatment can be carried out even after the artist's death. Therefore, this study attempted to use information from the artist's interview on the type of wood in the manufacture of the filler required for lifted and separated bark conditions in the conservation process of wooden artwork in the National Museum of Modern and Contemporary Art. While the conservation treatment resulted in the stable preservation of the bark of artwork, an analysis of the wood confirmed that the information in the artist's interview was not true. Consequently, we suggest that attention must be paid toward the information provided by artist, their bereaved families, etc. Based on the result of this study, this is also expected to help preserve upcoming artworks with similar bark conditions.

• Korean Journal of Heritage: History & Science
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• v.57 no.2
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• pp.52-78
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• 2024

This study analyzes the sculptural art of SeokhaSichan(石霞施讚, 1893-1958), a significant figure in modern Korean Buddhist art, to re-examine his contributions and standing in the history of Korean Buddhist art. Sichan expanded the boundaries of modern Korean Buddhist art by developing a unique style based on the traditional sculptural techniques he learned from his mentor, Wanho Nakhyeon (玩虎洛現, 1869~1933). This study explores Sichan's artistic development, focusing on his artistic characteristics and sculptural evolution. Sichan's early works are characterized by small sculptures modeled after the main Buddha of Seokguram Grotto and heavily influenced by his mentor, WanhoNakhyeon. In his later works, notable features include a sense of massive volume, larger scale, upright postures, integration of the Buddha statue with its pedestal, and decorative treatment of drapery. These changes are interpreted as Sichan's response to social changes and his reflection of inner contemplation and artistic exploration in his works. This study reveals the influences of Wanho Nakhyeon, collaborations with Toewon Woneil(退雲圓日, 1877~1939), interactions with patron Kim Jiseonghwa(金至誠華), and master-disciple relationship with successor Geumchun Seongpil(金春性必) through literature review and newly discovered works by Sichan. His works and his artistic evolution are pivotal milestones in the history of modern Korean Buddhist sculpture, demonstrating a unique integration of traditional and modern aesthetics. This study provides valuable insights into how Sichan's artistic legacy was inherited and developed by subsequent generations and offers crucial materials for the study of modern Korean Buddhist sculpture history.

• The Journal of the Korea Contents Association
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• v.15 no.9
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• pp.662-669
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• 2015

The purpose of this study is to explore plan for increasing the analysis and understanding skills of literary works by using systemic thinking technique. This study used a literatures analysis method. The concrete study contents are as follows; First, it is centered on presenting values of literary education through analysing fairy tales conditions in Korean textbooks in relation to national curriculum for elementary and middle school. Second, it is to explore the features of systemic thinking technique. Third, it is to draw the instruction design model and application. Main expected effects of this study are breakaway from habitual routine, developing comprehensive and logical thinking ability, expanding fancy and imagination, cultivating innovative problem solving skill, inducing interest in literature, and increasing linguistic skills. That is, it is to be effective instruction strategy to enhance creativity and to cultivate character in classroom.

• Trans-
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• v.1
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• pp.67-89
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• 2016

This study aims to examine the present (Western) modern dance by analyzing the works of three choreographers who are currently at the forefront of the dance scene to identify and understand the current choreographic trend. The three selected choreographers for this study are Justin Peck (USA), Sidi Larbi Cherkaoui (Belgium) and Zach Morris (USA). These choreographers were chosen on the basis of their significant identity within the current dance scene. For analysis, one noteworthy works of each choreographer were selected for video analysis. The result of the analysis illustrates that in the current era of promoting technology convergence in the performing arts industry, the three choreographers approach convergence differently by integrating dance and other mediums in their choreography. Peck converges between ballet and the ordinary, Cherkaoui converges between dance and other cultures and Morris converges between dance and venue.

• Trans-
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• v.3
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• pp.109-135
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• 2017

The purpose of this thesis is to analyze characteristics of everyday movement showed in performances of Steve Paxton. A work of art has been realized as a special object enjoyed by high class people as high culture for a long time. Therefore, a gap between everyday life and art has been greatly existed, and the emergence of everyday elements in a work of art means that public awareness involving social change is changed. The postmodernism as the period when a boundary between art and everyday life is uncertain was a postwar society after the Second World War and a social situation that rapidly changes into a capitalistic society. Changes in this time made scholars gain access academically concepts related to everyday life, and affected artists as the spirit of the times of pluralistic postmodernism refusing totality. At the same period of the time, modern dance also faced a turning point as post-modern dance. After the Second World War, modern dance started to be evaluated as it reaches the limit, and at this juncture, headed by dancers including the Judson Dance Theatre. Acting as a dancer in a dance company of Merce Cunningham, Steve Paxton, one of founders of the Judson Dance Theatre, had a critical mind of the conditions of dance company with the social structure and the process that movement is made. This thinking is showed in early performances as an at tempt to realize everyday motion it self in performances. His early activity represented by a walking motion attracted attention as a simple motion that excludes all artful elements of existing dance performances and is possible to conduct by a person who is not a dancer. Although starting the use of everyday movement is regarded as an open characteristic of post-modern dance, advanced researches on this were rare, so this study started. In addition, studies related to Steve Paxton are skewed towards Contact Improvisation that he rose as an active practician. As the use of ordinary movement before he focused on Contact Improvisation, this study examines other attempts including Contact Improvisation as attempts after the beginning of his performances. Therefore, the study analyzes Satisfyin' Lover, Contact at 10th & 2nd and Bound that are performances of Steve Paxton, and based on this, draws everyday characteristics. In addition, related books, academic essays, dance articles and reviews are consulted to consider a concept related to everyday life and understand dance historical movement of post-modern dance. Paxton attracted attention because of his activity starting at critical approach of movement of existing modern dance. As walking of performers who are not dancers, a walking motion showed in Satisfyin' Lover gave esthetic meaning to everyday movement. After that, he was affected by Eastern ideas, so developed Contact Improvisation making a motion through energy of the natural laws. In addition, he had everyday things on his performances, and used a method to deliver various images by using mundane movement and impromptu gestures originating from relaxed body. Everyday movement of his performances represents change in awareness of performances of the art of dancing that are traditionally maintained including change of dance genre of an area. His activity with unprecedented attempt and experimentation should be highly evaluated as efforts to overcome the limit of modern dance.