• The Journal of the Korea Contents Association
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• v.22 no.4
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• pp.727-741
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• 2022

This article focused on contemporary American animation since the 1990s and later detailed clues to the theory that contemporary pop art style influenced contemporary American animation art creation expression and contemporary American animation. Knowing why American animation swept the world summarizes the art creation characteristics of modern American animation. After a combination of theoretical and actual animation works, the main manifestations of the postmodern pop art style in contemporary American animation: exaggerated and superficial shapes highlight character characteristics; rebellious colors reconstruct emotional perception; creation impacts the mass media-dependence; bizarre collage and repetition, embodying the postmodern pop spirit of jokes and spoofs, Etc. Through this, it is expected that the current analysis of American animation will provide new innovative ideas for domestic animation design and increase the competitiveness of domestic animation in international video animation.

• Korean Architects
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• s.602
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• pp.126-129
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• 2019

• Korean Institute of Interior Design Journal
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• v.14 no.1
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• pp.11-19
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• 2005

As the world becomes more globalized thanks to the fast development of the Internet, a national identity becomes more important than ever before. Based on this, the study searches for the identity of modern American architecture through exploring the influence of modem American fine arts on the contemporary architecture. It was found that the concepts and the attributes of modern American fine arts obviously transferred into the contemporary architecture. The main concept was elimination of any kind of illusion for maximization of reality, and it was rooted Into American culture, the way of life and thinking. With the concept, the attributes were divided into two extreme poles: materiality and morphology: the former was evolved from Abstract Expressionism and Post-Minimalism and transferred into Los Angeles Avant-Garde architecture; the latter was from Pop Art and transferred into Postmodern architecture and Pop Architecture.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.231-242
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• 2019

(2014) directed by British-born second generation Iranian-American Ana Lily Amirpour, set in 'the Iranian ghost-town Bad City' attempts to make how the hybridization of multi-cultures makes interesting interpretations culture-politically, presenting a female vampire skateboarding in a striped t-shirt and a black chador. In traditional horror films, mainly male-Dracula was the center of the vampire narrative as other, but since the post-modernism era, vampire films try to shift women from the passive and dependent victim to the subjective and independent main agent. And the main character of the film, 'The Girl' who is a female Muslim vampire takes a step forward to punish men who commit gender violence. Shot in black and white, the film puts images ahead of narrative, while featuring Iranian actors, speaking Farsi. Furthermore, the film crosses over Iranian politics into American-European pop cultures with this eclectic mix of Iran's rock, British electro-pop and Ennio-Morricone-like western stylings. This study focuses on the style featured in which has successfully transformed and transplanted a vampire story into a critical contemporary discourse, mixing multiple genres and citing cultural trends while not following the traditional conventions of vampire films.

• Journal of the Korean Society of Costume
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• v.58 no.8
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• pp.137-157
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• 2008

The purpose of this study is to acquire clear understanding of classic Pop art, and furthermore, how it evolved within the art and fashion industries in relations until present days. Throughout the studies, it was inevitable to find that there needs to be additional traits to Richard Hamilton's famous quote regarding the definition; "Pop Art is: Popular, transient, expendable, low cost, mass produced, young, witty, sexy, gimmicky, glamorous, big business." Distinctively, though Pop art is continually evolving, sustaining, costly, authentic, and, adaptable for all ages. Pop art's varying influence continued, and Neo-pop, Japanese Neo-pop, les Nouveaux pop, Post-pop art appeared with progression. These transformed Pop arts share similar contexts with the Classic Pop art; and yet, it is inevitably more narrative, and has diversity in sources and expressions. If the Classic Pop art's been mostly flourished in the United States, new Pop arts are well established in various countries with individualities. Indeed, Pop art influenced the fashion world with attempted young and sexy looks with pastiche characters. In the 1960's, "Mods", "Teddy Boys", and "Hippie" styles became popular, and fashion trend started trickling up. Various usages of fabrics and uncommon materials were popularized due to the advanced technology and Pop art. Recently: 1) classic Pop art's been directly applied to fashion, 2) it's been reflected in more various motives and techniques 3) Neo-pop artists and designers wire involved with collaborative efforts. Undoubtedly, Pop art still remains popular for those who seek for fun; and so-called "Kidult" and "Peter-Pan syndrome" are closely correlated to the fundamentals of Pop art.

• Archives of design research
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• v.17 no.3
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• pp.293-302
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• 2004

The austere standard for industrial design and the machine aesthetic reinforced modernism and lasted more than a half century. Pop art and Pop design movements, which were opposite of the elite culture, began to appear as anti-modernism in the late 1950s. With the development of technology, the movements helped to establish humanism design style that reflected the life style of young generation and their culture. From the 1960s. it was a try in order to fulfill psychologically users' needs beyond tasks for physical considerations. The efforts appeared as a various appearance in different contexts. It could settle down on industrial design, based on humanism both from the physical and psychological points ol views, through anti-modernism in the 1960s, commercialism, consumerism and hi-tech in the 1970s, and postmodernism in the 1980s. The design, as a specific style in industrial design, delivers both physical and psychological satisfaction to consumers by using a mixture of human emotions with high technology. Accordingly, this study is to find out and to define the design style that was applied by human emotion and sensibility in design history from the 1960s to the 1980s. It will be underpinnings for the next research about how the design style has developed nowadays.