• The Journal of the Korea Contents Association
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• v.13 no.3
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• pp.65-75
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• 2013

Movie captured audience's whole sense organs to the screen which is made up of visual story-telling decorated by color, sound, and smell. The audience rediscovered native emotions(pleasure, fear, terror) suppressed and left in the compressed world of space and time, that is to say a movie world separated from the real world, by being immersed in the movie story. This study revealed audience's feelings of pleasure and fear by analyzing the movie . First of all, the pleasure would be discussed in terms of Nietzsche's "the will to power." Nietzsche defined something to breathe, move, and will as being alive, and he insisted that its power to life is 'the will to power.' Human beings wish to have power and want to increase it: pleasure, the real motivation of human behaviors and phenomena. The movie well revealed the pleasure by showing nonperson's challenge and victory against social rulers. Second, the fear and terror of the audience will be discussed in terms of in Lacan's psychoanalysis. Lacan extended Freud's id, ego, and superego into the worlds of reality, imagine, and symbol, and suggested a father in symbol world among those worlds. He suggested as a basic and connecting instrument of the socialization just like Signifi$\acute{e}$ and Signifiant, Saussure' basic linguistic structure in "Cours de lingustique g$\acute{e}$n$\acute{e}$rale"(1916). Because father is the symbol and the metaphor of law, the absence of him and resistance against him means obstacles of social stabilization. Finally this paper will also discuss that the fear from the absence of law and the pleasure provoked by self-preserving instincts, that is to say natural feelings, are connected to values of progressivism and conservatism.

• Journal of the Korean Society of Costume
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• v.35
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• pp.45-66
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• 1997

This thesis is a study on the kaftan styles iin Asia. The purpose of he study was to examine the origin o the kaftan concentrating on the history and cultural backgrounds of nomads in he Western Central and North Eastern Asia. Secondly for more thorough study and expla-nation on how these kaftans contributed to East-West trade along the silk road. wall paintings and miniature illuminations along Oasis roads persia and Saracen period were compared, Also real kaftans were compared and analyzed the characteristics of Western (Turkey palestine) Central(Kazakistan Uz-bekistan Tadzhistan Qyrgyztan Turkmenistan) and the North Eastern Asian(Mongol) area. Thirdly an attempt has been made to provide the North Eastern Asian(Mongol) area. Thirdly an attempt has been made to provide the style classifications according to their peculiarities of the various kaftans as well as how kaftan gave important influences on custumes of different religious sects. The kaftan is a long coat-like garment with front openings fastened with long sash having an extra long sleeves which were worn by middle and high class nomadics throughout the West Central and North Eastern Asia This type of kaftans were a basic clothing for nomadics since they were constantly moving fromone to another areas on their horse back riding. They also wore tight trousers with boots. Kaftans seem to be originated from nomads of Steppe around B.C. 800 On B. C 400 west asian areas such as Solokha Kul-oba Kulogan had pictures sculptues on vases showing kaftans of half coat type length with front opening tied with band. Also the materials used were the products of animals such as wool or felt with animal designs showing Scythian nomads. In the North Eastern Asia Hsiung-Nu were active in Kazakha North Altai and Mongol The Clothing and fabrics exfavated near Noin-ula Pazyrik showed many samples of kaftan with trousers with other interment be-longings with a corpse around B.C 300 to A. D 100 when trades along the silk roads were proven by many historians Kaftans excavated in this area wore red front opening silk materials which suggesting settling down of nomads. in he central Asia Dol-gull near Altai mountain area were mainly miners who later had many trades with Persia and Bizantine. After Dol-gull Bezeklik temple Samarkant Kizil cow Budda sculture wall paintings of Astana tomb showed typical kaftan of this re-gion. These were both hip covered length as well as long coat with narrow sleeves. Es-pecially they had different color band fron the main kaftan with grogeously and splendously designed silk. In perusia during A. D 1400 to 1600 minia-ture illumination showed kaftan as a high class symbol more than clothing purpose. They had best quality silk with extra long sleeves draping and had a layers of kaftans one on top of anther as a symbol of wealth These Kaftans with different colors and designs were even more beautiful with their effective combinations and contrast of colors. On the other hand the lower class common people and servants wore simple kaftan with the front part of the kaftan were slipped into the belt in order to be more active and con-venient to work, The real kaftans discovered at Topkapi Saray palace of Turkey from A. D 1300 to 1900 were also compared. These kaftans were very numerous in numbers as well as designs The materials and designs used were also vari-ous such as Chinese to Italian silk. The shaped and pattern itself were not much different from the previous nomad's Kaftans. The Palestian kaftans remained were from the beginning of 19th and 20th century. Since this area is hot and dry desert they used black and navy blue colors mostly in order to exclude the sun lights. The patterns used were similar to Nomads and Bedouin with cross stiches and patch work decorations. In the central Asia they had similar life style and natural environmental cnditions with Turkish tribe which resulted in similar kaftan styles as nomads. Mongols conserved basic patterns of kaftan since Cinggis Khan with deep folding in order to keep warm. At last the kaftans studided in this thesis were classified in to four such as half coat long coat jacket and vest style. A pattern used in the Central Asia were zigzag and ani-mal design whereas in the West Asia were floral plant arabesk and circle pattern. As I discussed previously kaftan styles of nomads in the Asia maintained its basic pat-tern throughout the history except slight changes in color gusset sleeve shapes. These slight changes were made according to the need to adapt the need of environmental natu-ral conditions, The reason for aboriginality of kaftan in Asia was its simplicity and con-venience Most interesting fact is that for all these years Mongols are still wearing kaftan in their life ensuring us that they art the preserves of old kaftan. Since this thesis dealt enormous Asian regions I had a limitation of not being able to cover the Far Esatern asian areas such as Korea China and Japan how these kaftans were influenced in their clothing history as well as Eastern and Western culture. This topic along with the studies on materials and designs of patterns of kaftan will be another research project in the future.

• Journal of the Korean Society of Costume
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• v.35
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• pp.17-44
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• 1997

Medieval European practical art and style of costume is studied through referring to the literatures. The type of clothing that was seen on tapestries arts and crafts paintings and wall paintings and appeared in the architecture such as church. There were symbolic aspects of color motifs at this period and some restraints for clothing according to the social class, It was a period that draped garments due to the War of Crusades is appeared. Be-cause the medieval taste and decorative character is not only 'formative art' but also the taste beyoud 'mode' and atomsphere of that times it could be seen the strong reflec-tion of customs in the clothing of that times which is shown in works of art. 1) The purpose of Christian art which was found in mosaics stained glasses wall pain-tings and statues of architecture was not just the revival of natural phenomena but visuali-zation of sacred and invisible things. It was valuable to understandin of the spiritual through the sense organ It was a monumental art that was combined with decorative func-tion and role of the Bible. It revealed what was about the religious spiritual miracle, 2) In the medieval European painting characteristic and beautiful creativity was the basis of an argument. Both "Worship of East-ern" that is painted ion a parchment and "Cor-onation of Charles VI" were described decor-ation motifs on the edge of buildings geo-metric patterns and others with outstanding skill. there were precise technologic skill of architect and glassmen and lots of patience of craftsmen. " The Labour of the Months" and the scene of"A Trial at the Court" is also de-scribed elaborately. 3) Tapestry was developed in France Ger-many Swiss at the 14th century. Religionary and historical themes unicorn lady bird flowering plants and others were major motifs. It was very important as decorative wall coverings and as practical door arch and bed hangings. It was made through patient hard work with simple technique and it was con-sidered as an art for practical use. Tapestry was what everyone wish to have. It is reckoned for the item of the best gift. The royalty and nobility ordered and used custom-made tapestries. Sometimes the subject of motifs consisted of series which were deeply related to living 4) Decorative arts and crafts was the art that used materials such as precious metals jewels and others and that accorded with the luxurious and gorgeous taste of the royalty and nobility. Christian considered splendid and beautiful color of light as a symbol of glory. They used also for church appliances, There were metal crafts wood crafts textile crafts and others, As was stated above the costume appeared on the arts and crafts for living revealed the process of changes saw how the politic econ-omic and social organizations were developed.and social organizations were developed.

• Korean Journal of Human Ecology
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• v.13 no.1
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• pp.185-194
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• 2004

This study examined the characteristics of 45 sects of seven new aboriginal religious groups in Korea including Jeungsan sect, Tangun sect, Soowoon sect, Won Buddhism, Bongnam sect, Gahksedo sect, Shamanism sect that had given a considerable influence on the modem Korean society since the end of 19th century through the field study and the review of documents. The purpose of the study was to elucidate how their religious ideas were reflected in their ceremonial costumes and what characteristics these costumes had. The results were as follows: 1. The new religious groups in Korea modified or mixed the designs or the names of existing outfits to convey their ideas or beliefs through their costumes. 2. The costumes of new religious groups had common characteristics of the times, Korean tradition and ancestor worship. 3. All the ceremonial costumes symbolized the creeds and ideas of each religion in their names, designs, and colors. The names of the costumes such as Way-Robe, Law-Robe, and Ceremony-Robe, and of the headpieces such as Sky-Crown, Lotus-Crown, Ceremony-Crown, and Sevenfold-Crown, for instance, were related with Buddhism, Taoism, and Confucianism. The most common design of costume was consisted of traditional hanbok and some type of headpiece and robe for men, and hanbok modified to Western-style for women. Most sects adopted hanbok as their ceremonial costume, but they tend to simplify its design. The color scheme of the costumes reflected the influence of the Yul-Yang and Five Elements idea but the colors varied depending on seasons and occasions to suit their creeds and philosophy. 4. These religious costumes were worn at various ceremonies, ritual, and various anniversary services for the master and other dignitaries of the sect to render greater piety to those gatherings, to distinguish the sect from other religious groups, to clarify the meaning of the ceremony, and to heighten the devout feelings of the participants. Thus, the structure (the symbol, names, and types of the outfit, and their color scheme) and religious background of the costumes of the new aboriginal religious groups in Korea turned out to have inherited and mixed various elements of traditional Korean outfits and those of existing religions to symbolize their religious ideas.

• Journal of Fashion Business
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• v.6 no.2
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• pp.29-40
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• 2002

Honor guards‘ dress represented by royal carriage parade. This thesis studies the ceremonial dress worn by the ceremonial troops during the Hwa-sung Hang-hang Ban-cha drawing (華城幸行班次圖) in the Chosun dynasty of King Jung-jo. The purpose of this study is to understand the national level ceremony by closely looking into the traditional ceremonial dress and the various signs that were used at these events thereby enhancing the cultural status of the Jung-jo King period. The Hwa-sung Hang-hang Ban-cha drawing(華城幸行班次圖) has its characteristics and also has commonality between the garments worn at these ceremonies. These garments are a traditional heritage brought down from many ages before and is a reflection of the changes that have occurred within our everyday life. Among these many records the Bancha-do(班次圖) is a representation of records that show what was worn by both nobles down to the ceremonial troops. The uniforms of the ceremonial troops were not only huge in size but also very diverse according to rank and grade. They used strong true colors with colorful flags, ceremonial items and musical instruments. These all added to the grandeur of the ceremony. The ceremonial flag was itself a symbol and was the core of the whole ceremony and parade. These ceremonial flags represented the heaven, sun, moon, hill and animals as well as supernatural gods. All these showed change in shape, color and content by age and time. Also the Yongmun Gichi(Dragon flag: 龍紋旗幟) is a supernatural being representing the power and wish of the ruler. The Chunsang-mun represents the indivisible relationship between man and heaven and also a metaphor for absolute power. A close look at ceremonial instruments show a direct representation towards power such as an axe, spear and sword and integrated with other large ceremonial items not only provided a shade but was also a representation of worship. These all were a more or less representation of authority. The musical instruments expressed the absolute authority of the ruler and maintained the marching order and also added grandeur to the parade. A summary of the ceremonial troops in the As seen above, these national ceremonies were a representation of the present power of authority and the will to rule. These ideas and the philosophy of “ruled by heaven” is represented here in the uniforms and the ceremony itself. The Bicentennial anniversary of the Nung - hang of February 1795 will be an excellent opportunity to show and inherit the tradition and recreation of our heritage. In this view we must look at the color and shape of traditional dress to be able to inherit and learn from our ancestors.

• Journal of the Korean Society of Floral Art and Design
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• no.42
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• pp.3-21
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• 2020

In this paper, the funeral was defined as a culture of death and, on the most important ideological basis, the biological death was not recognized as the end of the world, but as a starting point for another life. Various funeral cultures were investigated and the funeral floral design was analyzed through the case. Based on this, it was concluded that Korea's funeral floral design was an impediment to the development of funeral floral design, similar to the use of limited materials. Storytelling, a communicative concept through the exchange of emotions and opinions, rather than unilaterally conveying a message as an answer, is one of the most effective marketing strategies in the emotional consumption era. Based on this, the target person was selected to analyze life and draw suggestions from his life. Accordingly, the production of the work was attempted by applying storytelling to the funeral floral design. The painting design applied to storytelling expressed the symbol and meaning of the painting design material, and the color and form of the floral design in various forms and colors of pastel line, which are based on peach color that symbolizes the deceased, in a departure from the traditional funeral painting design with the solemn atmosphere of the geometric design centered on the white chrysanthemum material.

• Journal of Korea Entertainment Industry Association
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• v.14 no.4
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• pp.187-198
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• 2020

With the cultural background of whiteness I did examine the universal meaning of absolute good, the special of psychosis, and the fantastic of femininity and memory/record. As an example I analyzed the symbolic meaning of white used in Korean films. Unconditional goodness, white as a generality: White color in all the films of good-evil confrontation falls into this category. The most obvious and the simplest configuration are the black-white dichotomy. In Nameless Gangster: Rules of Time(2011), The Merciless(2016), Asura: The City of Madness(2016) and The Bad Guys: Reign of Chaos(2019), white is the absolute good but it is not limited to a fair key figure. Paradoxically, black is not given only to the side of absolute evil. White is used to be a flexible visual device that reflects the socio-political situation without changing the meaning of the general good. Psychosis and pills, white as a peculiarity: The visual function that emphasizes sado-masochism in the absolute good and the universal symbol of white extends to psychotic specificities such as hysteria. In all the films creating horror, white symbolizes the mentally disabled and the pill for healing. Femininity and haunted white: White of absolute good is expressed by the socio-cultural tendency of femininity and the black-white contrast of vision is applied to the gender difference. In general the women's sexuality is emphasized in color red, but white is arranged in the background. In TaeGukGi: Brotherhood Of War(2004), 71: Into The Fire(2010), My Way(2011), The Front Line(2011), Roaring Currents(2014), Northern Limit Line(2015), The Battle: Roar to Victory(2019) and Battle of Jangsari(2019), white given to female figures sticks to the traditional femininity such as motherhood, sacrifice and weakness. The concept of specters is applied to desires, memories/records, history, fantasy, virtual/reality and social media images. The film history capturing to list memories and moments brings up the specters of socio-political genealogy. Most of films aiming for socio-political change are its examples and white constituting Mise-en-scene records to remember a historical event in Peppermint Candy(2000), The Attorney(2013) and A Taxi Driver(2017).

• Fashion & Textile Research Journal
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• v.9 no.6
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• pp.613-625
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• 2007

Globalizing the Japanese fashion successfully, Hanae Mori's work awoke the western fashion world's nostalgia towards the East. Analyzing the aesthetic characteristics of Hanae Mori's clothes what kinds of aesthetic characteristic that her work had and what kinds of influences that she made in the modern fashion would provide substantial contribution of the world's modern fashion. This study provided forms and remarkable features of Japanese traditional custom, revealed Hanae Mori's life and her philosophies of fashion, and defined Hanae Mori's aesthetic characteristics by analyzing her work from 1970's until the retirement, July 2004. Methods of this study are completed by documentary records of Hanae Mori, research papers and fashion magazines that are published domestically and internationally, and collected materials from internet. The results of analysis are epitomized as below. Hanae Mori was the first Japanese fashion designer who expressed the characteristics of traditional Japanese custom with modernity sprit. In the 60's and 70's, especially in the U.S. and European fashion market, she inspired western fashion designers by her original sprit of art: combining Japanese tradition which showed distinctive color and spirit of nature and the western beauty. Hanae Mori created new dress molding from the Kimono's unstructured feature. Her layered look dressing, oblique adjustment and Obi, and others all enabled Mori to express Japanese image into modern fashion. Additionally, in terms of traditional Japanese image being acknowledged world-widely, she played a major contribution in world fashion by suggesting a new vision and raised several sensations in fashion artistry and modeling. Amongst her various patterns, Hanae Mori had butterfly patterns in most of her works, which was her representative symbol. This spoke for her strong will and senses of duty that wanting to inform beauty of Japanese women who were reflected in modern and graceful butterfly patterns. Flowers were another element that symbolized Mori. Using various flower motifs that bloomed in every different four seasons, she connected two images into her fashion; beauty of the nature and enlightening image of vibrating life. The aesthetic characteristics of Hanae Mori's clothes were defined as five: Japonism, naturalism, feminism, eroticism, and modernism. Japonism which is the spirit of Japanese, Mori used the concept to connect the East and the West. Naturalism represented harmony of the nature and the human. Feminism highlighted Eastern women's beauty. Eroticism emitted feminine attraction. Modernism represented simplicity and sophistication. Such aesthetic character illustrated Mori's original emotion that was based on Japanese spirit and she combined it with values of the East and the West. From the analysis of Mori's aesthetic characteristics, it is clearly recognizable her feministic beauty is emanated by her original emotion and sensibility.

• Archives of design research
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• v.19 no.5 s.67
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• pp.351-362
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• 2006

Currently, finding one's way in the underground spaces associated with subway stations in large cities is becoming a serious problem, and an environment that facilitates wayfinding is becoming more important. This study investigated interior treatments that function as visual cues in the subway stations of Seoul, Tokyo, and Taipei in order to develop design guidelines that would improve the place-cognition environment. A theoretical study has shown that there are three categories of visual cue for place cognition: marked trails, regional differentiation, and landmarks. The case study showed that marked trails involve treatments like vertical markers, confrontational positioning, and subway color codes. Regional differentiation involves patterns on the floors and walls, and accent colors on the walls and columns. Landmarks include treatments such as super graphics, symbolic features, artistic decoration and special lights. In the cases of Seoul, marked trails and regional differentiation were predominant. In addition, the Olympic symbol 'Hodori' and the ancient Korean character "Hunminjungeum" were used as landmarks. In the cases of Tokyo, regional differentiation predominated over marked trails because of the complexity of the spatial structure and subway line connection system. In the cases of Taipei, simple, unified images predominated, and there was minimal dependence on marked trails and landmarks. The need for regional differentiation was weak, because the stations studied have open structures that guarantee an open field of view. The results of this research could be used as design guidelines, after further experimental verification, that would help to improve the public environment in terms of wayfinding.

• Journal of Fashion Business
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• v.19 no.1
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• pp.62-76
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• 2015

The purpose of this study was to analyze and compare the shapes, colors, patterns, and hairstyles of Qipao worn by heroines that were reconstructed over times, in a Chinese TV Drama set in the 1930s and televised in 1980 and remade in 2007. We investigated how the Qipao was reinterpreted. The results were as follows. First, in televised in 1980, Qipao borrowed the characteristics of Jing Pai Qipao, which became popular in Beijing. Jing Pai Qipao was characterized by a roomy and loose silhouette that does not expose a body line, Chinese traditional 5 colors, simple plain patterns and Chinese traditional flower patterns. For hairstyle, twist and permanent wave styles that were popular in the Republican Period were very common. On the other hand, in televised in 2007, Qipao was a Hai Pai style that was very popular in Shanghai in the 1930s. Hai Pai Qipao was characterized by a tight silhouette fitted to the body, various colors such as purple and beige other than the 5 colors, Western flower patterns and modern geometric patterns. Hairstyle was changed from bang hair to a permanent wave. Second, while had a modern reinterpretation of Jing Pai Qipao that was very popular in Beijing, rather than Hai Pai Qipao that became popular in Shanghai in the 1930s, used Hai Pai Qipao that was popular in Shanghai in the 1930s. In particular, demonstrated how the mass media should reinterpret past clothing by thoroughly studying and reflecting Shanghai Qipao in the 1930s and adding viewers' aesthetic taste of 2007 without damaging an original. Moreover, it confirmed that clothing can function as language and symbol within the mass media by connecting the color and pattern of Qipao with characters' traits and the plot. It suggests that was more advanced than filmed in the 1980s. The findings of this study might provide useful data to costume designers who reinterpret costumes from a new angle.