• The Korean Journal of Archival Studies
• /
• no.27
• /
• pp.169-208
• /
• 2011

In this thesis, I pursued how the concept of documentary photography in Korea was formed, and how Koreans perceive the current mix of some concepts and how they are tracked that. Korean photography society, directly or indirectly, accepted the concept and format of documentary photography of the United States in which information and discussion of the history and concept by examining the process of being transferred to Korea are examined. Giroksajin(記錄寫眞) is a translation word of documentary photography which was a part of documentary movements in the United States of the 1930s, and are all based on that concept. When we order Korean documentary photography and the subject matter must be distinct, attitude toward the things should be based on the exact perceptions of this age awareness, to be able to give enough information, and finally moved forward to move the human emotion must be. When this condition is equipped with the photographers and archivists perspective is revealed clearly the social and historical records that are meaningful. Documentary photography is the subject of the photographers and archivists that want to record the important things, but what you can get in the records and the question of how to use it is also important. Korean documentary photography, not only records the things, just to have a meaningful supplement to get done the exact context of information production and led to the conclusion that the strengthening of documentation strategies.

• The Korean Journal of Archival Studies
• /
• no.79
• /
• pp.471-513
• /
• 2024

The monthly news and culture magazine, 'Sasanggye,' established by Jang Jun-ha from 1953 to 1970, served as a platform for government criticism and intellectual representation. The magazine created photographic-essays covering a variety of topics and utilized images as a visually impactful tool with news value. This paper aims to critically examine the photographic-essays within 'Sasanggye' as archival records, shedding light on their intrinsic value. Before delving into this assessment, the paper thoroughly explores the developmental process and characteristics of these photographic-essays. And based on the content divisions within the main text, the paper categorized the themes captured in the photographic essays into politics, economics, society, culture, and miscellaneous topics. It then introduced representative photographicessays. From an archival perspective, looking at photographs involves elucidating that photographs carry meanings beyond mere data. The photographic essays in 'Sasanggye' serve as photographic records providing evidence of 1960s Korean society and encapsulating crucial visual information. Furthermore, the photographic essays in 'Sasanggye' hold a historical significance in the aspect of Korean magazine documentary photography. The photo-essays in 'Sasanggye' carry worth in the history of photography and encompass evidential and informational values as photographic records.

• The Korean Journal of Archival Studies
• /
• no.30
• /
• pp.125-174
• /
• 2011

Railway Station in Korea built for purpose to plunder resource and invade China 19 and 20 century early, It functioned as main transportation and important role in local history. However, Since the late 1990s, Railway Station in Korea is facing major changes due to Railroad Improvement and Restructuring plan. Photography is useful way to represent memory and local history about railway station, but Photography Documentation on railroad station were not discussed until now due to indifference of the KORAIL and peculiarities of national security facilities for a long time. This study suggest what is document activities and facilities of railway station, use value analysis about railway station's value firstly. next, this study set each documentation area with value analysis for a basis and present concrete example. finally, this study adapt documentation area and detail to classification scheme and apply activities and facilities of supplement or revision to classification scheme.

• The Korean Journal of Archival Studies
• /
• no.80
• /
• pp.197-232
• /
• 2024

This study aims to understand archival art, which is spreading in the art world, and to look at records in a new way. Archival art refers to the act of creating and exhibiting art using records as a medium of expression. Archival art is attracting attention as a method of exhibition and creation of works, forming a trend in contemporary art. Archival art was born amid changes in art creation methods resulting from the rise of conceptual art, the development of media including photography and advancements in digital technology, and the influence of Foucault and Derrida's discourse on archives. The encounter between archives and art, which originated from photographic aesthetics in the 1920s, led to archival turn in contemporary art in the 1990s, thanks to the spread of conceptual art, digital technology, and postmodernism. Archival art not only subverts traditional art creation methods, but also includes criticism and deconstruction of social systems, including modern archives. Archival art rearranges and reorganizes records according to the artist's intention, and even accepts fiction rather than fact. The essence of records in archival art is not the reproduction of the past, but the expression of present needs. The way records are utilized in archival art shakes up the concept of records in archival science, calling for a new look at records as objects with not only legal and administrative value but also aesthetic value.

• Journal of Korean Society of Archives and Records Management
• /
• v.9 no.2
• /
• pp.79-102
• /
• 2009

Photography has been used as a typical tool of recording image since its invention in the nineteenth century. Photographs provide valuable visual information about all parts of society, and a systematic management must be preceded to use these information. The management and preservation system of photographs should reflect the characteristics of photographic medium. It is necessary for many archives to perform appraisal first to collect and manage enormous photographs. Appraisal is the process of determining meaning and value of records, and the reasonable criteria should be needed to carry it out. The purpose of this study is to suggest appraisal criteria for photographic records based on the archival appraisal theories and the characteristics of photography. This study draws on traditional appraisal theories and some literatures for archival management of photographs. This study is organized as follows. The first section examines the concept and values of photographic records and the distinctiveness of appraising photographs. The second section analyzes the existing appraisal criteria for individual records. The third section designs appraisal classes of photographic records and proposes the criteria for each classes.

• The Korean Journal of Archival Studies
• /
• no.74
• /
• pp.45-78
• /
• 2022

South Africa implemented apartheid from 1948 to 1994. The main content of this policy was to classify races such as whites, Indians, mixed-race people, and blacks, and to limit all social activities, including residence, personal property ownership, and economic activities, depending on the class. All races except white people were discriminated against and suppressed for having different skin colors. South African citizens resisted the government's indiscriminate violence, and public opinion criticizing them expanded beyond the local community to various parts of the world. One of the things that made this possible was photographs detailing the scene of the violence. Foreign journalists who captured popular oppression as well as photographers from South Africa were immersed in recording the lives of those who were marginalized and suffered on an individual level. If they had not been willing to inform the reality and did not actually record it as a photo, many people would not have known the horrors of the situation caused by racial discrimination. Therefore, this paper focuses on Rise and Fall of Apartheid: Photography and the Bureau of Everyday Life, which captures various aspects of apartheid and displays related records, and examines the aspects of racism committed in South Africa described in the photo. The exhibition covers the period from 1948 when apartheid began until 1995, when Nelson Mandela was elected president and the Truth and Reconciliation Commission was launched to correct the wrong view of history. Many of the photos on display were taken by Peter Magubane, Ian Berry, David Goldblatt, and Santu Mofoken, a collection of museums, art galleries and media, including various archives. The photographs on display are primarily the work of photographers. It is both a photographic work and a media that proves South Africa's past since the 1960s, but it has been mainly dealt with in the field of photography and art history rather than from a historical or archival point of view. However, the photos have characteristics as records, and the contextual information contained in them is characterized by being able to look back on history from various perspectives. Therefore, it is very important to expand in the previously studied area to examine the time from various perspectives and interpret it anew. The photographs presented in the exhibition prove and describe events and people that are not included in South Africa's official records. This is significant in that it incorporates socially marginalized people and events into historical gaps through ordinary people's memories and personal records, and is reproduced in various media to strengthen and spread the context of record production.

• Journal of Conservation Science
• /
• v.37 no.5
• /
• pp.491-504
• /
• 2021

Gwanghwamun Gate of Gyeongbokgung Palace was dismantled and relocated during the Japanese colonial period, destroyed during the Korean War, reconstructed with reinforced concrete in 1968, and finally erected at its present location in 2010. A pair of Haechi statues located in front of Gwanghwamun was dismantled and relocated several times, and the statues have yet to be returned precisely to their original positions. This study assesses the historical accuracy of their current placement under the Gwanghwamun Square Restructuring Project of the Seoul Metropolitan Government and the Cultural Heritage Administration based on archival photos from the early 1900s, and proposes a method to estimate the original positions of the Haechi through image analysis of contemporary photographs and recent digital camera photos. We estimated the original position of the Haechi before the Japanese colonial period by identifying the shooting location of the archival photo and reproducing contemporary photographs by calculating the angle and distance to the Haechi from the shooting location. The leftmost and rightmost Haechi were originally located about 9.6 m to the east and 7.4 m to the north and about 1.9 m to the west and 8.0 m to the north, respectively, of their current location indicators. As the first attempt to determine the original location of a building and its accessories using archival photos, this study launches a new scientific methodology for the restoration of cultural properties.

• The Korean Journal of Archival Studies
• /
• no.62
• /
• pp.225-258
• /
• 2019

Since the opening of Joseon in 1876, the photographic records of the late Joseon Dynasty and the period of the Korean Empire exist more than expected, considering the technological level and the social situations at that time. Photographs related to Korea can be distributed in various forms, such as illustrations of books printed to introduce Korea to Western society, plates of graphic journalism like newspapers or magazines, vintage prints, photo-postcards, stereo-photographs, card-type photographs, and lantern slides. There are still a great deal left in various archives of the Europe, America, Japan and Korea. According to related researchers, Korean-related photographs taken between 1863 and 1910, since Koreans were first photographed, were at least 3,000 to 4,000 cuts and the photo postcards issued was 25,000. It is said that most of them exist. This paper categorizes two ways of producing and distributing photographic records related to Korea, which were early modern times. The subjects of the photographs are clearly Korea or Koreans, but most of the producers of these photographs were Westerners and Japanese, who were imperial servants of imperialism. In the case of photography, there is a great possibility of distortion of the facts depending on the needs or perspectives of the producers. In order to correct the distortion, not only the contents of the photograph but also the intention of the producer, the production and the communication status should be grasped. This is because the problem of reading photograph records accurately and fairly in an age where there is no real experience is the cornerstone for understanding modern Korea correctly and broadly studying the Modern History of Korea.