• Journal of the Korean Institute of Rural Architecture
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• v.21 no.2
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• pp.27-34
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• 2019

This study explores the emergence of a modern form of Cheongju-eup townscape in the late 1930s by re-examining the 1960s restoration model of Seongan-dong and Jungang-dong in Cheongju, one of the historic cities in South Korea. According to the acquired data from the restoration model, it is found that the construction of a new urban area during the late 1930 was resulted from the following events: the development of a railroad station located outside of the north gate of Cheongju-eup since 1921, the completion of Musimcheon embankment outside the south gate in 1932, and the construction of Chungcheongbuk provincial office outside the eastern gate in 1937. In this period of development, which the author named 'Cheongju-eup period', the streets in the old castle, consisting only of two-story financial buildings, had been expanded from the existing area at the Seongan-gil intersection to the outside the east gate of Cheongju-eup. In addition, public government buildings, which were mainly located in both Seongan-gil and Yulgok-ro in the east-west direction, were newly constructed during the late 1930s in Seokgyo-dong, a new area in which a large number of commercial buildings including department stores, clothing stores, shoes shops, and watch stores were also built along the streets. Moreover, the modern form of Cheongju-eup was to be formed by several construction projects in the area of Jungang-ro in the late 1930s. Until the 1920s, the townscape outside the northern gate of Cheongju-eup, were composed of primary, agricultural, and female schools built on a largest site of Gyoseo-ro and Daeseong-ro as well as a transportation warehouse and a railway office near the Cheongju station. Then, entering the 1930s, new school buildings and domestic industrial shops and factories were built around the area of Jungang-ro ranging from the railway outside the northern gate to Bangadari. As a result, the expansion of townscape with newly constructed buildings in the late 1930s marked the emergence of a modern form of Cheongju-eup.

• The Journal of the Korea Contents Association
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• v.11 no.11
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• pp.130-136
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• 2011

This study analyzed and compared Dong-a Il-bo, a new material, based on the result of analysis of movie commercials on Mae-il Shin-bo from the previous study. Although we could not analyze precisely them in regard to their form, there are differences between them in terms of where they show movie commercials and how large their movie commercials are. However, in terms of the content, the characteristics of movies in the 1930s correspond with the result of the study that analyzed Mae-Il Shin-Bo. As Mae-Il Shin-Bo was actually a organ of the Japanese Government-General of Korea, and Dong-A Il-Bo was a representative of private newspapers, our comparative study actually covered almost all materials on the movies of the 1930s, considering repeating movie commercials. Based on the results of this study, we can learn more precisely the characteristics of the movies in the 1930s.

• The Research Journal of the Costume Culture
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• v.21 no.6
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• pp.844-859
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• 2013

This study investigated the characteristics and changes of cotton and silk textile production in Honam district, especially in Gurye, Jella Province from the 1930s to the 1980s. To do this, research method in this study was both literature and fieldwork research and results were as follows. First, in terms of cotton fiber cultivation of Gurye, Chinese Cotton(在來綿) has been substituted for America Cotton(陸地綿) and additionally, Yellow Cotton (黃綿) has been cultivated in the 1930s. Also, in terms of silk fiber cultivation of Gurye, Joseon Silkworm has been substituted for Japanese Silkworm by inflowing the Japanese mulberry tree. Second, in terms of spinning method, cotton spinning has been conducted at every house by an individual tool from the 1930s to the 1950s and has been gradually changed to mechanization by market shop equipped with mechanized cotton gin and cotton whipping tool. However, there have been no changes in silk spinning method from the 1930s to the 1980s. Third, loom type has been changed from the traditional Korean back-strap loom to the treadle loom between the 1930s and the 1940s. Fourth, dyeing was conducted by chemical dyestuff after weaving. The circulation of textile was done through the joint market by Japan in the 1930s~1950s and has changed to the market sales by producers since the 1950s. Fifth, since the 1970s, the outputs of cotton and silk textile of Gurye have been reduced. This was connected with the westernization and the inflow of the synthetic fiber and cloth in cotton and was related to the changes of the nation policy and silk fiber inflow from the china to the Korean farm villages.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.36 no.3
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• pp.79-90
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• 2020

This study traces the flow of modern museum architecture from the 18th to 19th century when the rationalist architectural spirit influenced the museum architecture to the 1930s, before the museums of the modern architectural masters appeared. With early modern museums until the 1930s as a target, which had long been enshrined in classicality, finally contributed to narrowing the gap with the times, but did not receive the right evaluation, this study examines their different architectural styles from previous museums and reveals that they have a significance to announce the departure of modern museums beyond classical ones. The three museums, built in the 1930s, will be identified as respectable early modern museums that will fill the remaining blank space of the history of museum architecture. In this study, modern museums are asymmetric, non-centre oriented, and non decorative. They have multi-directional circulation, and a neutral, open and flexible exhibition space. They also try to align themselves with the modern architectural tendency of the day.

• Journal of Ginseng Culture
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• v.5
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• pp.52-76
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• 2023

This article focuses on changes in the ginseng industry in the 1930s in areas other than the Government Contract Cultivation (GCC) zones. A major characteristic of the ginseng industry in the 1930s was the rapid increase in the area covered by ginseng gardens: the area was about 212 ha in 1929 and 252 ha in 1930 and 1931 but soared to around 441 ha in 1938. This occurred because the non-GCC areas increased significantly during this period. Until the early 1930s, the ratio of GCC to non-GCC areas was 70:30. By the late 1930s, however, the ratio had changed to 53:47. The reason for this change was that the area of the newly established ginseng gardens in the GCC zones had decreased, while that of the non-GCC ginseng gardens had steadily increased. Due to the Japanese invasion of China, China boycotted red ginseng, and exports were sluggish, so the GCC areas were reduced. On the other hand, the non-GCC ginseng gardens were not affected, and the area they covered steadily increased. As a result, in the 1930s, the ginseng industry outside of the GCC areas grew rapidly. The region that led the growth of the ginseng industry outside of the GCC zone was Jeonbuk. By the late 1930s, Jeonbuk dominated the other provinces and accounted for more than 50% of the non-GCC farming zone. Gyeongbuk and Gangwon-do followed Jeonbuk in terms of ginseng cultivation areas. While Gyeonggi-do, Gyeongnam, and Chungbuk were also active in ginseng cultivation, Jeonnam and Chungnam were not active. In the 1930s, the growth of the ginseng industry outside of the GCC zones was driven by the efforts of ginseng farmers and the support of local governments. An examination of Yecheon-gun in Gyeongbuk, Ganghwa-gun in Gyeonggi, and Jecheon-gun in Chungcheongbuk-do showed that ginseng farmers organized cooperatives as the ginseng industry steadily developed in these regions, and these cooperatives worked systematically to cultivate and sell ginseng. In the case of Ganghwa-gun, activities were carried out to incorporate the GCC zone. The Deoksan Ginseng Association in Jecheon-gun determined that financing for cultivation was key and requested subsidies from the provincial government. Administrative authorities also supported the activities of the ginseng farmers. The activities of the farmers and the support of the administrative authorities together led to the growth of the ginseng industry during this period.

• The Research Journal of the Costume Culture
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• v.20 no.1
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• pp.49-61
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• 2012

This study focuses on looking at the influence of silhouette in the 1930s on fabric pattern design by comprehending how differently flower-pattern design were found according to clothing silhouette. The period scope of research was limited to 1930s, and the research object was set as the flower patterns seen in the designer's high-fashion and the women's daily apparel as well as the clothes for sports and leisure activities. Based on the above research scope, the researcher investigated the clothing silhouette and the textile patterns in 1930s by reviewing the literature about domestic and foreign books, research papers, domestic and foreign fashion magazines, information on the Internet. A glance at the women's clothing in the 1930s reveals that they emphasized something inactive, elegant, feminine and that great popularity was given to feminine silhouette that closely fitted the body and long and slim, as skirts became longer and longer. Like this, silhouette refused traditional methods in the technique of expressing flower patterns that were on-trend in that period, pursued the freedom of line and form, used shadowing technique by means of free pens and brushes and the effect of watercolors. It also arranged in a semitransparent way and painted contours alone, too. Flower patterns fell into two categories: amorphous abstract patterns and standardized abstract patterns. The patterns expressed themselves, divided into small-scale irregular patterns and abstract geometric patterns that filled the entire textile.

• The Journal of Art Theory & Practice
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• no.3
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• pp.135-154
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• 2005

In the late decade of 1930, under the Japanese Imperialism, the Korean abstract art which was formed with affection by Japan and Europe. They say the early Korean abstract art is colonized, from a point that it derives from exterior impact. And they say also it is colonized not to be related to the representation of their own life world. On the other hand, the early Korean abstract art in 1930s is told as the prehistory of 'Korean Modernism in Art', which flourished in 1970s followed 'Informal Art Movement' in the late 1950s. Because the status of abstract art in 1930s was not more than a germ of 'Korean Modernism in Art', while they understand until 1950s as a period dominated by representational art based on Chosun Exhibition or Korean National Exhibition, the period until 1970s as a period ruled by abstract art which was accepted as 'Korean Modernism in Art', and the period after 1980s as a period by Min-jung Art and Post-Modernism Art. However, the historical value of Korean Abstract Art in 1930s cannot be passed over, if not trying to understand the development of 'Korean Modernism in Art' especially focusing on not their own history but the impact of Western and Japanese art. In the late colonial period, the Korean early abstract art was the strongest utterance of the time paradoxically, even if not related much to optical representation of the Korean subjectivity. Therefore the existing viewpoints about the early Korean abstract art should be changed.

• Journal of architectural history
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• v.32 no.1
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• pp.21-34
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• 2023

The purpose of this research is to investigate Korean architects' perception of the Modern Movement in architecture in the West during the Japanese colonial period, by analyzing two Korean publications in the 1930s: Park Dongjin's 'Present Architectural Tendency' (Dong-A Ilbo, March 1931) and Hong Yunsick's 'Trend in the Thought of Moderne Baukunst' (Chogwang, September 1937). As a result of the investigation, it is confirmed that the two men welcomely accepted the universal modernity, regarding the rational and functional - rather than subjective expressions of the individual - as the key to modern architecture. Although their perception of the Modern Movement in Western architecture was inevitably superficial due to the limited condition of the Japanese colonial period in Korea, there was an obvious advancement in the latter's perception from the former's, reflecting the progress in knowledge of it over the six and a half years between the two. Therefore, it is argued that their 1930s' writings are meaningful as the first Korean publications that illustrate how Korean architectural circles perceived the contemporary architectural movement in the West.

• Journal of architectural history
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• v.32 no.6
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• pp.49-62
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• 2023

This research aims to investigate Park Kilyong's architectural theory and critique of Gyeongseong (Seoul) buildings, expressed in his 'Overview of Modern Buildings in Gyeongseong' and 'Critique of Gyeongseong Buildings' (Samcheolli, Sept. and Oct. 1935); and 'Architectural Form of the 100% Function' and 'The Modern and Architecture (1)-(4)' (Dong-A Daily, 28 Jul. to 1 Aug. 1936). As a result, it is confirmed that Park had the functionalist theory of modern architecture, which suggests that Korean architects of the Japanese colonial period were accommodating the contemporary trend of world architecture. However, Park shows his fundamental limitations in the fact that the main content of his articles was a verbatim translation of two Japanese references (Kurata, 1927; Ishihara, 1929) without proper indications. Despite the limitations, his texts are still meaningful since he formed his own architectural theory on the basis of what he translated; and indeed his critique of Gyeongseong buildings, however simple, was based on the theory. This research makes a critical analysis of Park's functionalist theory from both the 1930s' and present points of view and compares his commentaries on Gyeongseong architecture with those by Ko Yu-seop (1932) and Hong Yunsick (1937), illustrating how Korea perceived architecture and modernism in 1930s.

• Journal of Fashion Business
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• v.10 no.5
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• pp.1-14
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• 2006

The purpose of this study is to examine the style of Marlene Dietrich who was a Hollywood legend in 1930s and has influenced on modern fashion. The characteristics of Dietrich style showed androgyny, sensualism and exoticism. Dietrich has been famous for wearing tailored pantsuit on and off-screen with mannish gesture and had great effect on women's wearing pants. Her confident, sexy mannish style represented her androgyny glamourously and proved she had a taste for a classic. Her sensualism focused on her famous legs because she understood the sex appeal of woman's legs. She showed her legs by wearing pants and decorative stockings, or matching colors of stockings and shoes to make her legs look longer and sexier by illusion. Her exoticism against a backdrop of black and white image, was presented with luxurious, sensual fabrics such as furs, feathers and velvet, along with dazzling accessaries. Also she didn't forget to manipulate angles of camera and lights for the engraving figure of her own. Her charisma directed her fashion image in detail and made herself a fashion icon in 1930s.