• Proceedings of KHEA Conference
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• 2004.04a
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• pp.182-182
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• 2004

• Korean journal of communication and information
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• v.77
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• pp.137-163
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• 2016

In the early 1900, photography, magic lantern and cinema were simultaneously introduced and experienced until the mid-1910s as mysterious and magical symbol of modern science and technology. The technology of vision, cinema in particular demonstrated its commercially expandable potentials through serial films in the mid-1910s, silent cinema in the 1920s and talkies in 1930s. I argue that a metaphor 'like a movie' which was would be spoken out by peoples as a cliche ever since the late 1910s whenever they encountered something uncanny, mysterious, and looking wholly new phenomena informs how cinematic technology worked in colonial society at the turning point to the early 20th century. Mass in colonial society accepted cinema and other visual technologies not only as an advanced science of the times but as texts of modernity that is the reason why cinema had so quickly taken cultural hegemony over the colony. Until the mid-1920s, discourse on cinema focused not on cinema itself, rather more on the theatre matters such as hygiene, facilities for public use, disturbance, quarrels and fights, theft, and etc. Since the mid-1920s and especially in wartime 1930s, discourses about negative influences and effects of cinema on behavior, mind and spirit of masses, bodily health, morality and crime were articulated and delivered by Japanese authorities and agencies like as police, newspapers and magazines, and collaborate Korean intellectuals. Theories and research reports stemming from disciplines of psychology, sociology, and mass-psychology that emphasized vulnerability and susceptibility of the crowd and mass consumers who would be exposed to visual images, spectacles and strong toxic stimulus in everyday lives. Those negative discourse on influences and effects of cinema was intimately associated with fear of the crowd and mass as well as new technology which does not allow clear understanding about how it works in future. The fact that cinema as a technology of vision could be used as an apparatus of ideology and propaganda stirred up doubts and pessimistic perspectives on cinema influence. Discourse on visual technology cinema constructed under colonial governance is doomed to be technology of mass control for empire's own sake.

• The Journal of Art Theory & Practice
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• no.4
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• pp.105-121
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• 2006

The term 'modern', in broader sense, refers to the concepts like modernity, modernization, modernism and the like, which came from Westernization impling the recognition of indigenous culture as being inferior to Western culture by comparison along with the expanded influences of the Empire of Japan. These concepts, however, rather than evolving from Western standards, came into being as a form of civilization led by Japan which had already tasted the fruits of modernization by 1920s. Since 1920s, the policy of, so-called, reconstructing Asian countries by Japan came to create eastern way of modernism, as a new East Asian trend mainly revealed in China which was against colonization after Japan's invasion and conquest of Manchuria. Therefore, Eastern' modern' unlike Western one could be understood in the widespread terminology, 'Modern(摩登)' in Shanghai, reflecting consciousness like 'Fashion' or 'Trend' in female images on a variety of visual media. By 1930s it was the most notable that 'modern' was accepted as something similar with 'Fashion', or 'Trend' in sociocultural contexts. These atmosphere had led commercial arts to enable to communicate with the public in a great deal of supports and success in Shanghai which was widely regarded as the citadel for the inflow of Western culture, among which transformations in female images were remarkable as a representative form of culture. It is also remarkable that 'historical modernity' transforming from the feudal age to modern society was considered a synchronic modernity, and nationalism was regarded as a sort of being modern, while involved in the newly-changed female images as a fashion mode. Changes in fashion including hair style in Shanghai by 1930s, as a way of expressions showing what was modern through commercial artistic productions, were easily noticed in visual media as an outlet of modern women's inner desire revealing their pursuit for new mode of life in metropolitan cities. As a characteristic of the time creating a new code of visual female images, it is notable that there existed another form of 'modern' satisfying socio-cultural needs of the general public seeking for being 'modern'.

• Journal of architectural history
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• v.27 no.4
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• pp.17-30
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• 2018

The purpose of this study was to determine changes in neighborhoods due to the development of residential districts around Jangchungdan(?忠壇) altar in Seoul from the 1920s to the 1930s. In the Joseon Dynasty, this area was a protected and sacred area to honor the spirit. The reputation of the area, however, turned into the place to play and take a rest and neighborhoods around Jangchungdan altar were developed as high-grade residential districts with the impression of suburbs during the Japanese colonial period. Residential districts were formed with the destruction of the Hanyang City Wall and the privatization of nation-owned forest, which were physical and symbolic boundaries of Seoul in the Joseon Dynasty.

• Cartoon and Animation Studies
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• s.34
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• pp.197-217
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• 2014

The 1920s and 1930s ushered in "the golden age" of Chinese comics when the comics flourished. Satirical cartoons in modern Chinese comics were popular due to emotional instability and war caused by foreign powers. Among many popular comics, this paper analyzes in the 1920s and in the 1930s which were made into films and dramas. Chapter Two shows that China in the Republican era of China expanded its consumer culture into some sectors like films, novels, magazines and fashion in the 1920s and 1930s. However, more than any other things, this chapter considers from the historical perspective "the golden age" of comics including comic magazine in the 1930s and a history of comic magazines that gained popularity with conventional and common story. Chapter Three explains that social satire cartoons were in vogue since the May Fourth Movement and anti-imperialistic and semi-feudalistic stories in the 1920s were realized in life. It also says that comics that describes the negative sides of its society were popular. Ye QianYu, a cartoonist, portrayed many facets of Shanghai through : the daily life of the middle and lower classes, bureaucratic corruption and sympathy for the working class. drawn by Zhang LePing describes the unfair social system between the bourgeoisie and the proletariat and the gap between the rich and poor through the main character, the powerless and poor orphan. and lampooned the reality of its time in an objective, witty and humorous way in terms of ethics and economy respectively. The researcher chooses to study and which are very familiar to us, because good cartoons, animations and movies stimulate the feelings about our surroundings.

• Archives of design research
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• v.15 no.2
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• pp.243-252
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• 2002

Industrial design has been need to made a new tool for human with adaptable to situation the age. But, at early America, it is very difficult that role of design settle down and progress than these days. It is not to he easy newly born in industrial design because of rapidly changing the America situation with multi settlers, the Depression and world wars. There was various design change in short period. So we called the step modern 1920 and the streamlined 1930. The study is background of American design by variety cultures & creatures from 1920s to 1930s. Some of Korea design has affected of America cultures at duration of 6.25 war and now. This study has included early culture & industrial life, designer activity, and at the part of rear new invention, industrial design relate to architect, four leading designers Walter Dorwin league, Norman Bel Geddes, Henry Dreyfuss, Raymond Loewy. In present world situation, It is important in all aspect to understand that early process at America industrial design. Early American culture is constructed from the building block of the puritan ethic and is sheathed by liberal mercantilism, today is became one stir it into the common molting pot.

• Journal of the Korean Society of Clothing and Textiles
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• v.41 no.2
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• pp.224-241
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• 2017

This study considered the change process for Western style shoes in Korea during the time of modernization in the 1920s to 1930s. Western style shoes were one of the items imported by foreigners since the Joseon Dynasty and had a significant impact on Korean dress code. It influence started to spread in the 1900s; however, few high level people wore Western shoes until the 1920s. The trend started to spread through newspaper advertisements and news articles after the mid 1920s. Western shoes such as modern girl and modern boy in the 1930s then entered into Korean culture. Korea under Japanese colonial rule was reorganized on a war footing in the latter half of the 1930s and the main materials for western shoes (cow leather, horse leather and sheepskin) were mobilized as materials for war production; subsequently, new materials using rubber were introduced. The representative material is 'Marine Leather (水産皮革)' and Sharkskin 'Gyoheok (鮫革)' and Whaleskin 'Gyeongpi (鯨皮).' Form is like the material has changed over time. This study also observed the flow of westernized Korean modern shoes as well as analyzed the details of materials and shape of western shoes by period. This represent basic materials to understand the legacy of western shoes in the age; in addition, systemic summary is organized by each kind, shape and materials for each style of western shoes.

• Journal of the Korean Society of Clothing and Textiles
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• v.42 no.3
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• pp.544-559
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• 2018

Korea's traditional aesthetic criterion changed with a new makeup culture that followed the social change caused by modernization. Such transitional features are well seen in the cosmetic advertisements of the 1920's and 1930's. To investigate the cultural characteristics and aesthetic-criteria changes of makeup culture at this period, this thesis analyzes cosmetic advertisements carried in newspaper media of the 1920's and 1930's from an aesthetic perspective. This study found that after the late 1920's, more diverse tones were used for face-powder makeup, collapsing the visual, powder-focused makeup which had been considered criteria for beauty, in combination with smelling and tactile senses such as scent or touch. Domestic makeup had the highest value attached to basic skincare in terms of the aesthetic effect via powder makeup; however, Japanese makeup still stressed the importance of color. Besides, particular facts were found as to social significance of makeup acts such as powder users' age group, safety, superiority and rivals of products, and appeal for makeup popularization. This thesis demonstrates how traditional female beauty appears in powder advertisements in the modern period and how it is related to present-day female beauty.

• Journal of architectural history
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• v.29 no.2
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• pp.7-18
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• 2020

The purpose of this study is to examine the construction industry of Korea from the 1920s to the 1930s by analyzing activities of construction-contractors trying to overcome the recession of the construction industry and intensified competition in the industry. In this paper, I looked at the activities of Hanazono Sakichi as concrete examples. First of all, with the strategy of the vertical integration, by manufacturing and selling building materials, Hanazono Sakichi expanded his company and the scope of contract business. The second, he attempted to diversify related projects. Through related diversification, he seemed to have earned not only land management profit but also advantages from related construction. These aspects were not only seen by Hanazono's activities but also by other contractors'. On the other hand, a few contractors have taken over a trust company to secure the funds for land management. Attempts to maximize personal interests through the expansion and diversification of contractors' business can be seen as overcoming the pre-1920s environment, where almost construct works were ordered under the government, and creating opportunities for the private sector to work and make profit by themselves. In the end, it can be mentioned that 'the contractor' established 'the construction industry' through this process.

• 보건세계
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• v.43 no.4 s.476
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• pp.12-15
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• 1996

6$\cdot$25 동란이 초래한 절박한 결핵사정은 전국의 결핵인들을 결속시켜 범국민적인 민간항결핵단체를 조직케한 촉매제가 되었다. 19세기 말 개화의 물결을 타고 이 땅에 서양의학이 전래된 이래 1920년대부터 싹튼 항결핵운동이 주로 서양 선교사들에 의하여 주도되고, 1930년대 후반에 총독부 관제단체가 만들어진데 반하여 대한결핵협회는 우리의 손으로 우리를 위하여 우리가 함께 만든 자랑스러운 겨레의 단체였다.