• Korean journal of communication and information
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• v.48
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• pp.153-169
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• 2009

This study explored the official memory of Korean War through the photographs of pictorial history books. The object of this study was two books of pictorial history that were published in America and China. Two books are Pictorial History of Korean War and The Glories of the People's Army of China. This study investigated symbolic meanings of the Korean War photographs through content analysis and visual analysis. This study analyzed the difference of official memory of Korean War in America and China. In Pictorial History of Korean War, the superiority of military strength was the memory of Korean War. While in The Glories of the People's Army of China, the superiority of socialism was the memory of Korean War. The Korean War photography actualized particular interpretations on Korean War.

• Korean journal of communication and information
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• v.68
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• pp.65-86
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• 2014

Photography is frequently associated with the death because it seems to remind us of our own mortality by representing the dead people. The indexical character of photography reinforces this association. Photography is used in many ceremonial activities and medias to represent death. Five types of death photography can be differentiated: funeral portrait, post-mortem photography, conflict and disaster photography, death penalty photography, anatomic and forensic photography. These death photographies serve for four individual and social purposes: mourning and remembrance, resistance and struggle, rule and domination, disclosure and accusation.

• The Journal of the Korea Contents Association
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• v.11 no.6
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• pp.176-184
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• 2011

The purpose of this study is to analyze the Korean War photographs in Korean history textbooks. This paper deals with the ways of describing Korean War in history textbooks. The Korean War photographs adopted in this study, using qualitative and quantitative analysis. The photographs analyzed for this study were in the 6 different textbooks in high school level. This paper focuses on how photographs of the textbooks help students create various memories about Korea War. The photographs of the textbooks, before the 7th Educational Process, decribe Korean War as victorious war. Meanwhile, the Korean War photographs in Korean modern and contemporary history textbook emphasize traumas of the war.

• The Journal of the Korea Contents Association
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• v.22 no.6
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• pp.160-174
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• 2022

This research analyzed military journalist activities and key photos of Werner Bischof, the military journalist during Korean war. Werner Bischof entered Korea twice in 1951 and 1952 for military journals. Through Korean war pictures, essay, multiple letters and photobooks, I shed a light on the background of his military journals and activities, and analyzed topics and characteristics based on key photos that he took during his first and second military journalist activities. Bischof created a work centered on 'Human'. Especially, he has this consciousness of 'What happens to civilians in war-ridden area?'. Bischof took civilians in Sanyangri in his camera to announce pain of civilians and tragedy of war coming from war during his first military journalist activity. During his second military journalist activity, he critiqued ideological brainwashing, life of prisoners of war in a humanist point of view. The latter showed characteristics of clear contrast of black and white, image arrangement based on characters, and outstanding photo views. His military journal activity is in search of civilian suffering, and humanism in Korean war. This consciousness crosses through generation over generation that cannot be compared to other military journalists.

• The Journal of the Korea Contents Association
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• v.20 no.7
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• pp.368-378
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• 2020

This paper analyzed how the characteristics of 'punctum' and 'studium' in war documentary photography work on the audience through 'D-DAY' photographs taken by Robert Kappa and a U.S. army photographer. As a method of research, we conducted interviews with the audience to examine the process of expressing the punctum and studium experiences. Studies have shown that audiences feel a greater punctum experience in war documentary photographs of 'Robert Capa' than those of U.S. army photographers. Even if the same situation was taken in the same place, the audience could confirm that the photo could be a means of distortion because it did not show reality in various ways depending on the photographer who took it. This study is meaningful in that it revealed the distortion of war documentary photography and the audience's punctum experience by examining the audience's experience of war documentary photography through qualitative research.

• The Korean Journal of Archival Studies
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• no.25
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• pp.285-292
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• 2010

• Journal of the Korean Institute of Landscape Architecture
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• v.38 no.1
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• pp.12-24
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• 2010

The purpose of this study was to analyze design characteristics of Korean War Memorials(KWM) in the United States(KWMUS). Through site survey and internet searching, the researcher selected 25 KWMUS and analyzed four analysis categories: design concept, spatial form, landscape details, and sculptures. The results are as follows: 1. The analysis revealed that main concepts of KWMUS were to cherish victims of the Korean War, show membership/locality/patriotism, express feelings and the meaning of war, and explain the Korean War realistically and symbolically. 2. Most KWMUS in memorial parks and plazas were designed to pursue the completion of each memorial assuming the form of typical and symmetrical circles and squares. Also, spatial order including spatial sequence was seen in some of KWMUS. 3. Stone walls, stone monument, flags, emblems and paving were used as main landscape details. The map of the Korean peninsula and Taegeuk were often introduced to symbolize Korea and the Korean War, and the symbolic phrase, 'Forgotten War' or 'Freedom is Not Free' were written on the stone to keep the Korean War in the minds of Americans. 4. Sculptures were used as important media to represent the Korean War in a variety of ways. Most of them were formed realistically, except for a few sculptures that aimed to represent the Korean War symbolically and narratively. In particular, the sculptures in Washington D.C. KWVM and Minnesota KWM were remarkable as symbolic media of war memorials in contemporary society. Further study will be required to analyze comparatively KWM in Korea and the U.S. and to understand characteristics of KWM in the point of design style.

• Korean Architects
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• s.636
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• pp.110-115
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• 2022

• Journal of the Korean Institute of Landscape Architecture
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• v.39 no.3
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• pp.26-38
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• 2011

The purpose of this study was to analyze the commemoration culture of Vietnam War Memorials (VWM) in Vietnam. Through site survey, the researcher selected 23 VWM in Vietnam and analyzed 5 categories: memorial type, design concept and narratives, location and spatial form, landscape elements, and content expressed in landscape details. The results are as follows: 1. Because of the long, drawn out Vietnam War, which lasted from 1955 to 1975, VWM were divided into 10 types mainly as soldier cemeteries based on a traditional memorial style, battlefields and places of tragedies considering sense of place, war museums representing victory and atrocity in war, and peace parks promoting reconciliation and peacemaking. 2. The analysis revealed that the main concepts and narratives of VWM were to value the victims of the Vietnam War, remember soldiers' contributions, highlight the victory in war and resistance to the United States, and express a sense of place. Peacemaking applied only to My Lai Peace Park and Han-Viet Hoa Binh Cong Vien, built by international cooperation. 3. Cemeteries and appreciation memorials were designed to follow a traditional memorial space form that highly regard both axis and symmetry. The design concept at battlefields and places where tragedies occurred depended mainly upon a sense of place and used symbolic landscape elements to compensate for the undefined concept. 4. Sculptures and towers were mainly used to highlight war victory and resistance as the representative style of a Socialist country, weapons and pictures exhibited in war museums and battlefield showed the reality and strain of war. Symbolic elements of Buddhism and Confucianism were often introduced as a way to venerate the memory of deceased persons. 5. The state and heroic actions in the Vietnam War were realistically depicted on sculptures and walls. Also, the symbolic phrase, 'TO-QUOC-GUI-CONG' meaning 'our country remember your achievement', were written on the memorial tower and 'Quagmiire' was used to metaphorically represent the difficulties faced by the U.S. military on battlefields during the war and the uncertainly that pervaded U.S. society in those days. 6. In VWM, ideologies like nationalism, patriotism, socialism, capitalism were mixed and traditional cultures like Buddhism, Confucianism, Taoism were inherent. Differing from their Confucianism culture, war heroes, particularly including women, were often described by sculpture, monument, and pictures and the conflict in and outside the country regarding the Vietnam War was shown. Further study will be required to analyze design characteristics of VWM in the u.s. and to understand the difference in commemoration cultures between Vietnam and the U.S.

• The Journal of the Korea Contents Association
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• v.12 no.7
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• pp.76-85
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• 2012

Early photography history of Daegu, Gyeongbuk Province, Gyebok Choi were taken a lots of prizes of famous contest and known to the nationwide in 1930's and then his photos became an example of salon photography. And his documents of Mt. Baekdu & Dokdo in 1940's was the outcome of self-consciousness. Wangsam Koo proposed the realism of the photo. He saw, the base of photos should be reflected the lives of people of the times and the characteristics of the period, and he had great influence to the history of Korea photography with his own unique vision. These photos and theories accomplished a photo aesthetic to Korea photo history in 1940's. Besides it had been the national spirit at Youngnam province in the early 20th century.