• Korean Journal of Human Ecology
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• v.2 no.2
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• pp.39-48
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• 1999

본 연구의 목적은 두 종류의 다른 연구자료- 유물과 문헌자료를 이용하여 1950년대 초기에 유행하였던 미국여성복식 가운데 쉬스 드레스(sheath dress)의 디자인 특징을 고찰하는 데에 있다. 본 연구의 일차자료로는 하와이대학교(University of Hawaii)의 The Western Costume Collection에 소장된 1950년대 초기의 복식으로 추측되는 유물과 1950년부터 1955년 사이에 출판된 Vogue, Harper's Bazaar, New York Times Magazine을 문헌자료로 이용하였다. 연구결과, 1950년대 초기의 미국 여성복 디자인의 특징은 여성의 신체적 특징을 강조하며 여성스러움의 미를 극단적으로 추구하는 쉬스 드레스(sheath dress)의 ‘the straight and slender look’으로 요약될 수 있었다. 나아가 문헌분석을 통하여 본 연구의 유물자료가 50년대 초기(1950-1954)의 미국여성복식 디자인의 특징을 보여주는 대표적인 이 시기의 복식유물로 그 사용연대가 확증되었다. 본 연구는 지금까지 주로 문헌자료의 분석만으로 한정되어 왔던 한국의 전형적인 서양복식연구에서 한 걸음 나아가 과거에 실제로 입혀졌던 복식에 대한 이해를 확장하기 위한 또 하나의 연구방법으로 문헌분석과 유물분석(object study)을 병행하여 시도해 보았다는 데에 그 의의가 있다.

• Journal of Korean Home Economics Education Association
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• v.19 no.4
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• pp.137-151
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• 2007

The characteristics of Hyeonmoyangcheo-ism (wise mother, good wife) in the 1950s, which were observed through the girls' school curriculums and homekeeping textbooks, were arranged as follows. Firstly, Hyeonmoyangcheo-ism in homekeeping textbooks in the 1950s stressed the modern housewife. The Confucianwomen's virtues, such as submissiveness, faithfulness and samjongjido (obedience to father, husband and son), that were in girls' moral training and home management textbooks during the Japanese imperialism. This was a part of girls' education built on democracy and equality asserted by a new Korea, the 'modern nation'. Secondly, with the increasing demands for women's labor after the Korean War, women's occupations were reinforced and incorporated in homekeeping textbooks in the 1950s. Even though having a job was a secondary task to the role of a homemaker, the details of women's occupation illustrates the characteristics of Hyeonmoyangcheo-ism in this period of time. Thirdly, The resident practice program emphasized the tradition women's behavior along with the modern homemaker, the rational designer of homekeeping. This seems to have been reinforced from the criticism towards women based on Westernization after the Korean War.

• Proceedings of the Costume Culture Conference
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• 2004.04a
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• pp.84-86
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• 2004

21세기를 대표하는 종합예술 중의 하나인 영화는 독자적인 문화권을 형성하여 거대한 산업으로 성장하였다. 영화는 패션산업과 밀접한 관계를 가지고 있다. 영화의상은 영화의 극적인 효과를 위하여 사용하는 모든 종류의 복식을 뜻하며 배우가 착용하는 의상과 헤어스타일, 머리장식, 액세서리, 신발, 분장 등은 영화의 내용 전개에 있어서 중요한 역할을 한다. 본 연구에서는 영화 속 주인공들의 스타일이 여성 패션의 흐름을 주도하기 시작한 1950년대에 유행하였던 영화들을 중심으로 영화의상이 담당하고 있는 역할과 한국인의 일상복이 전통적인 의상에서 현대적이고 서구화된 의상으로 변하는데 영향을 미친 요인들을 분석하기 위하여 1950년대에 유행한 미국영화의 분석과 1950년대에 우리나라에서 유행한 복식을 분석하고자 한다. (중략)

• Journal of the Korean Society for information Management
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• v.13 no.2
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• pp.19-37
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• 1996

The development of information retrieval between 1950s and 1990s is described chronologically. For each decade, the following information retrieval systems are examined : post-coordinate and KWIC indexing methods for the 1950s ; off-line and experimental on-line systems for the 1960s ; on-line and full-text retrieval systems for the 1970s ; full-text databases, on-line interfaces, and overseas and domestic on-line databases for the 1980s ; and finally for the 1990s, CD-ROM, multimedia, hypertext, and Internet. The prospects for the future are also discussed.

• The Journal of the Korea Contents Association
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• v.21 no.12
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• pp.713-727
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• 2021

This paper want to examine how Gwanghwamun and its surrounding areas work in the cinematic spaces for Korean films of the 1950s-2010s. First, in Korean films of the 1950s-1960s, Myeong-dong(Namchon), Bukchon, Seochon, and Dongchon are the primitive, perceptual, existential spaces that show the underground world and tragic pathos in the splendid city through intense desires and fatal frustration, the shadows and conflicts of modernization. Second, in Korean films of the 1970s-1990s, Myeongdong·Jongno(Namchon·Bukchon), Seochon and Dongchon are the perceptual, existential spaces that show public revenge and private alienation through the dichotomy of freedom/evil and the dichotomy of wealth/poverty. Third, in Korean films of the 2000-2010s, Gwanghwamun(Seochon), Bukchon, Namchon, and Dongchon are the perceptual, existential spaces that show civil society ethos and gloomy requiem through national agendas, resistance movements, desires and losses, miserable reality and death.

• The Journal of Natural Sciences
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• v.10 no.1
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• pp.123-131
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• 1998

This research was investigated the improved changes of Korean traditional costume after introducing the western costumes in this society. For this study microfilms of Chosun llbo, the popular newspaper since 1920s, and costume magazines for 1950s and 1960s were examined. The periods of the improved changing of Korean traditional costume were divided by the characteristics of qualitative and quantitative changes. Those were two, such as passive period and active period of change. At passive period, the change was not far from the original from of traditional costume and it was limited to the waist of skirt, length and width. But at active period, there was distinctive change from the previous period. Active period is divided by 2 sub-period again. In 1950s, the concept of darts of western costume was accepted to Korean costume and there was the western clothing for everyday costume, the characteristics of Korean costume were added to the base of the western clothing. It was named 'Arirang dress'. Original Korean costume had worn for special occasions since late 1950s.

• Journal of the Korea Convergence Society
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• v.10 no.4
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• pp.115-121
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• 2019

The purpose of this study is to analyze the 'Modern Architecture Space' represented in Korean melodrama films of the late 1950s. It is assumed that popular films reflect the residential culture, architectural spaces and human activities of those days. For the analysis, a pool of 5 Korean melodramas of the late 1950s was constructed. In these melodramas, the modern architectural spaces were represented as the following: 1) The modern-style residential spaces were emphasized to reflect the interest and longing of the public for western lifestyle. 2) The western non-residential spaces such as work spaces and commercial spaces were emphasized, especially its interior design of western image.

• Proceedings of the Korea Contents Association Conference
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• 2016.05a
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• pp.339-340
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• 2016

'중국학파'는 중국 애니메이션 학파의 약칭으로서 1950년대에 시작되어 1960년대 성숙기를 거쳐 1970-1980년대에 뚜렷한 성과를 거둔 중국 특색이 현저한 애니메이션 작품들을 가리킨다. 이 개념은 중국학파의 탄생, 발전 및 전성기를 비교적 정확히 설명하고 있다. '중국학파' 애니메이션은 중국 애니메이션 발전과정에서 큰 업적을 남겼으며. 본 연구는 그 성과를 고찰하여 성과의 내용과 의미를 찾아보고자 한다. 이는 중국 애니메이션산업의 종사자들에게 중요한 의미를 가진다고 본다. 본고는 주로 중국 전통 색채의 시각에서 애니메이션 조형에 대한 전통 색채의 영향을 고찰하고자 한다.

• The Journal of the Korea Contents Association
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• v.14 no.3
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• pp.59-68
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• 2014

Dir. Kim, Muk was known to the representative director of Korean action and thriller film from the last of 1950's to the first of 1970's. His first film is melodrama (1958). But he mainly makes action genre film after (1960). This reserch discussed on Kim, Muk's activity in Koream film world and introduceed his all films from the first of 1950's to of 1970's. In conclusionly I arranged his film style and KIm, Muk's film making metod of action film.

• Journal of architectural history
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• v.23 no.6
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• pp.27-37
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• 2014

Early 20th century Singapore was faced with the problem of overcrowding. The attendant problems of a rapid increase in population density, namely the lack of proper housing and sanitation, resulted in the issue of an appropriate residential environment emerging as an important task in urban planning. It was necessary to construct housing estates in order to solve this issue. At that time, the British colonial government attempted to transplant modern technology into the construction process of a residential complex system. However, Singapore's climate and traditional lifestyle made it impossible to apply the British modern system in a straightforward manner, and in the process, a number of transformations emerged. With a specific focus on the Tiong Bahru estate, one of Singapore's representative public housing projects, from the 1930s through the 1950s, this study intends to look at the way in which such residential estates were assimilated into local surroundings, and the effect of the transplantation of British concepts of modern housing theory. Therefore, the study is divided into an examination of the estate both before and after the turning point of World War II. This study confirms that the difference between the pre-war and post-war planning strategies for the Tiong Bahru estate were made according to the concept of 'open space.'