• Journal of the Korean Society of Costume
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• v.61 no.8
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• pp.18-31
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• 2011

Gianni Versace was a designer who established his unique fashion world by thinking creatively and using rich design sources. The purpose of this study is to present designers a methodology for creative and characteristic design development by searching Gianni Versace's idea source for fashion design. As a method of the study, visual and textual data were investigated for Versace's fashion and design source especially focusing on those elements that inspired him. Versace was born in the southern area of Italy in 1946. Ever since his childhood, he had a lot of experience with clothes because his mother was a dressmaker. His first collection was made in 1978, and Versace became one of the most famous fashion designers in the world within 20 years. He used a wide range of design sources such as history, culture, and art and created his design world with it. He focused on four important epochs. They were classicism, Byzantium, the eighteenth century centering on Baroque, and the 1920s and 1930s centering on Madeleine Vionnet and Madame Gres. Among cultural elements, costume design for ballet and opera and rock 'n' roll music inspired him greatly. Also, Pop art and various paintings such as Chagall's and Delaunay's had a huge effect on Versace. With these elements, he created a bold and unique coordination of style by mixing & matching history, genre, material, and style into his design. Thus he completed an extraordinary and original fashion style by emphasizing on decorative and glamorous points and changing a way of thinking.

• (The) Research of the performance art and culture
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• no.35
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• pp.9-59
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• 2017

This article describes the entertainment business system from 1907 to the first half of the 1920's. The entertainment business began at the time of Empire of Korea with the Imperial Theater called Hyeomnyulsa, which was supported by the emperor's authority and national system and run by the imperial court, especially Gungnaebu. However, after closing the imperial theater, many commercial theaters have been born since 1907, the role of the subject who dominate the entertainment business has been subdivided into financialist and agent. The financialist was replaced by civilians and the capacity of the agent has been strengthened after the introduction of Yeongeukgaeryanglon. In this condition the entertainment business had to be rationalized. In addition, before and after 1912, as the businessmen took part in the entertainment business instead of the government officials and social leaders, the role of entertainment business developed and became equipped with a modern system. Financialist who utilized economic capital was subdivided into the proprietor of a theater, investors, and bosses in the process of mobilizing the necessary funds for the construction, renovation, and repair of the theater, and agents who used cultural capital to practice and maintain performances, on the other hand played a role in expanding the diversity of the show in and outside the theater. In the theatre there was Chongmoo, Johapjang, Chwiche, and Jwadang of Gisaengjohaps, Sinpageukdans, Gyeongseonggupabaeujohap and various XXX Ilhaeng were outside the theater. They participated in the their own way. The financialist and agent used to set up cooperative relations and conflicts. The entertainment business was deepened and developed in the process of resolving the conflicts. However, Performance market could not grow as well as the possibility of a system equipped after 1915. This is because the Japanese imperialists limited the growth of the economic capital and cultural capital of the Koreans and even the composition of social capital. For this reason, Chosun's entertainment business system has grown in proportion to the absolute growth of the box office industry, but it has not developed as much as its potential capacity.

• (The) Research of the performance art and culture
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• no.25
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• pp.5-30
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• 2012

I. Identity of Yeonsegeuk as total arts. The purpose of the thesis is to arrange the identy of Yeonsegeuk(Kino-Drama) which is theatre or film. The process of study is tried to discuss on the aethetic of Yeonsegeuk. II. Appearance of Yeonsegeuk and negative disputation of yeonsegeuk The first imported Yeonsegeuk from Japanese in Korea is made by the group of Mizuno Ganggetsu(水野觀月) on Oct. 16. 1915 at Pusan and also to run in Seoul at Hwanggeumgwan. The first of Korean Yeonsegeuk is by Kim, Dosan, a leader of Singeukjwa(theare group) on Oct. 27. 1919 at Danseongsa. Before the liberation of Korea from Japan all made korean Yeonsegeuk are 28 works. III. Dramatic form of Yeonsegeuk I study on the relation between Yeonsegeuik and Sinpageuik(new theatre of modern drama in 1920's). I find that Yeonsegeuik admitted the thechnics of the Sinpageuik and the contents. If We think that the theatre is synthetic art which genealize all arts, we can insist that the Yeonsegeuk is valued the total art as new performance to comply with film art to theatre. Conclusionly Yeonsegeuk is called 'Expanded Theatre' as the new performance which must be dicussed in the view of total art. VI. Discussion on the the aethetic of Yeonsegeuk When we compare the structure of film with the structure of theatre, we can't find a diffrent element between the structure of two art in art semiotic. But we find a fact that film art has special elements in mechanics character which are camera working and motage. These technics influence on the audience's mind. It is different point between Japan and Korean's Kino-drama and Germany's that is to admit the aethetic of total art or not. V. Yeonsegeuk as new performance During Korean modern times Kino-drama was first a kind of total art with stage and screen. But it is regretable that Kino-drama didn't have the background of theory which discourse on the comprehension of total art. As the result Kino-drama bring the confusion of argument that Kino-drama is total art or expanded theatre. This confusion will be disputed on film art as performing arts or future art as expanded film and total art.

• (The) Research of the performance art and culture
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• no.35
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• pp.125-174
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• 2017

The Cheondeok-Song (religious songs of Cheondo-Gyo) of the Japanese colonial period shown on Cheondo-Gyohwe-Weolbo, the monthly magazine of Cheondo-Gyo Church were examined in this paper. The results are as follows. There are scores of songs, lyrics, and articles related to Cheondeok-Song in the monthly magazine. The five-tone scale or Korean traditional rhythm style was partly used, but western music form was dominant in most of the songs. Especially the four-part form of Christian hymns became usual since 1931. This shows how people thought of the new trends. The reception of the new trends being emphasized, but they recognized tradition as an object of overcoming rather than of succeeding. The lyrics contain religious contents and the spirit of the period to restore national self-respect and contribute to the world peace through overcoming Japanese imperialism. But the rhythm of seven and five syllables which is suspected to have been introduced by Japan was spread after the 1920s. Cheondeok-Song have been sung in the three grand anniversaries and other anniversaries, the Prayer-day, in Cheondo-Gyo church services on Sunday, ceremonies, and in lecture. There are various kinds of songs and their status is very high. Especially, Cheondeok-Song have been used actively in mission works and edification for women. Cheondeok-Song actively reflected the domestic and international trends and the demands of that times. They could sing self perfection through enlightenment and also the social reform based on it. These are the reasons why I think Cheondeok-Song of those days are so important. Cheondeok-Song reflected modern elements actively, but couldn't succeed the national form and the traditional elements properly. The problem of cultural identity is not only a specific group's but also that of the whole humanity of maintaining cultural diversity. This is also a task that Cheondo-Gyo Cheondeok-Song have to solve in the future.

• English Language & Literature Teaching
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• v.8 no.2
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• pp.117-130
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• 2003

This paper attempts, not to evaluate, but to describe William Carlos Williams' poetic techniques in accord with his poetic theory of Imagism; it does this by showing the early poetry in 1910's. The purpose of this paper is to analyze how Williams developed his poetic techniques with his theory of poetry. The progress of his poetic theory is drawn from the influence of another poet, Ezra Pound. William Carlos Williams' poetic development in Imagism threads the periods of his writing from the early 1910's to the early of 1920's. William Carlos Williams forms progressively the theory of his poetic technique of Imagism in this period. He treats the poems as images. In his theory of Imagism, his art continually demonstrates the development of poetic techniques by the help of other artists. This period represents Williams' attention to the essence of poetic elements: 'the thing itself.' All of these things in life come before us in his poetry in such a way as to be a technical process divided into the well-formed theory of poetry. The development of William Carlos Williams' poetic technique takes a particular pattern in order to achieve a theory of Imagism. At last, the steps of his poetic technique arrive at an organic unity of poetic theory in the early poetry of Williams.

• Journal of architectural history
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• v.1 no.1 s.1
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• pp.218-227
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• 1992

What is Deconstruction which is now the focus of the current architectural discussion? In order to know the Deconstruction properly, we should review the background of Modernism and Post-Modernism in architecture. As we know, the 1968's serial uprisings of democratic movement in Paris changed human concepts about art dramatically. As the result of that movement new ideas such as Structuralism, Post-structuralism, Deconstruction, and Semiotics arose. In architecture some ideas like construotioniem were not practised fully in 1920's and only the Modernism has been realized as the idea expressing the modern Utopia. In Korea situation to interprete architectural ideas into real buildings are different from those of other developed countries. Korean architects are seemed to use Deconstructionist vocabularies as fashionable styles without being concious of the root and history of Deconstruction. For Koreans the contexts are different. Although Modernism and Functionalism have been practised vigorously in Korea as other countries, the situations are ambiguous and complicated in applying new ideas introduced after Moderism. So they are in chaos. What could be our orthodox ideology to be worth pursuing in arthitecture? There are several sample works of Deconstruction in Korea done by Jo, Geon young, Kim, In Chul and Bae Byung-Gil. Aithough their works cannot be interpreted as real Deconstruction in European or american view-points, I think they are good examples of Korean Deconstruction that express contemporary Korean architecture and its social background.

• The Research Journal of the Costume Culture
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• v.4 no.1
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• pp.93-109
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• 1996

Madeleine Vionnet, a representative designer of the 1920′s, who made prefectly organized clothes with unique formativeness was the first to express fabric in a modern method and was called "The architect of fashion". This is because she developed a three dimensional design by expressing cloth-she rejected corset, should pad, etc-into elegant curved lines that do not stick to the body. By granting meaning to the beauty of the body and its movement in her own unique ways, she emphasized the formativeness in her work and gave shape to creative artistry. Expecially with the "Bias-Cut" she could express the lines of the body more flexibly and could make geometrical styles like the diamond shape dress or the triangle dress more effectively. Using the "Tired Bias cut" and "Handkerchief point" she let the skirt hemline dangle irregularly in geometrical forms, thus showing modern formative sense which forms a three dimensional solidness along the movement of the human body. Thus far, analyzed how the contemporary trend of art was reflected in her designs by studying her work; also investigated through her artistic characteristics and pattern method. Also be tried to find out what can be learned through her artistic view and superb formativeness as a designer.

• Journal of Fashion Business
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• v.24 no.3
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• pp.1-16
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• 2020

The purpose of this study is to find the aesthetic characteristics of costume design as mise-en-scène in movie 'The Danish Girl'. the methods of this study was carried out prior research, literature studies and qualitative research of visual content analysis by DVD. The spatial and temporal scope of the study is Copenhagen, Denmark from 1926 to 1931, and Paris, France. The styles of the times(1925 ~ 1931) and the spatial sensibilities of women's costumes in terms of form and color were examined thorough out the story. As the results, the costume are based on the 1920's Art Deco style like straight silhouette and some of them are oval soft silhouette. The colors are harmonized or in conflict based on Nordic colors such as blue-green, gray and yellow. Rather than expressing the internal conflict between the two main characters, the costume was focused on the role and character. And also exotic tastes like Japanese and Egyptian textiles patterns and decorations. Therefore, it was found that the movie costume played a role as one of the very important mise-en-scène.

• The Journal of the Korea Contents Association
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• v.18 no.7
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• pp.84-94
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• 2018

This study analyzed domestic media articles from 1920 to 2017 using R 3.4, a big data analysis tool. In addition, it examines the sexual minority discourse reproduced through the media for about 100 years, focused on the role of the film as an art of struggling with the projective aversion to sexual minorities. sexual minorities in movies are not abominable. They are people we already know in our daily lives, and they are just different in sexual orientation. In general, sexual minorities are less likely to encounter in everyday life, so they are experienced and perceived through what the media present. It is noteworthy that the representation of sexual minorities in the media is formed as a major agenda of our society by publicizing the problems underlying society on the surface. It causes social issues to be raised by revealing and highlighting the problems that are regarded as alienated and avoided from the mainstream's gaze. The content provided by the media enables a three-dimensional experience of subjects who have not experienced it by themselves, and has a decisive influence in correctly recognizing and judging society. Media content suggests that it can be a powerful weapon of recognition struggle that can naturally fight against social hatred without using methods such as demonstrations or protests.

• Cross-Cultural Studies
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• v.37
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• pp.31-49
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• 2014

Peking has peculiar features as capital city, and has gone through various transformations, with its name changed from Peking to Peiping to Peking. Even when it did not serve as a capital city, it still played an unrivaled role in cultural aspects. Laoshe, a great writer of 'Peking flavour' literature, is famous for works full of cultural charms of Peking. In his works, which show the manners, norms, art, culture and optimistic life style of Peking, Peking culture is described as an extension of cultural traditions of Qiren. In addition, his critical view of reality is also expressed in the works. Linhaiyin's literary works show ordinary hutongs she experienced in the 1920s in Chengnan, the southern part of Peking, and the quiet and simple life of warm-hearted people living there. Her vague memories of Peking, along with her nostalgia for the city, let her describe the city with recreated happy memories of it instead of the harsh critical view. Her works express the city in her recreated memory full of hope, with her dark memories of the city being glossed over. As seen above, Laoshe realistically described the tragic and difficult life of low class people in hutongs of Peking as well as lower middle class people of the city. Meanwhile, in ChengnanJiushi, Linhaiyin expresses the daily routine and ordinary life of people in Peking from the perspective of middle class people. In addition, she showed the sympathetic view of middle class citizens towards their low-class neighbors. In Peking Menghualu, Wangdewei mentioned that the 'castle of memory' which old Peking people in Taiwan tried to establish fills an important gap for the continuity of Peking cultural history and cultural imagination. This indicates that the 'Peking castle of memories,' which Linhaiyin, a Taiwanese writer well known for 'Peking flavour,' has established plays a big role in filling part of such gap. ChengnanJiushi, Wuyigong's film based on Linhaiyin's novel of the same title, also describes the daily sceneries and culture of the southern Peking in the 1920s, which both Taiwanese and Chinese people miss, through sophisticated images with 'profound yearning tinted with calm sadness', accomplishing an artistic achievement different from that of the novel.