• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2008년도 춘계학술발표대회 논문집
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• pp.63-66
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• 2008

In urban planning and architecture, there has been emerging paradigm of regeneration, taking place of demolishing first, and new development next principle. Retrofit and remodeling, thereby, became important. The purpose of the research in to examine a reused space with new function. The target space was the former slaughterhouse in the ailing district of the Bologna City with ever increasing vandalism and fear caused by empty buildings, which was regenerated into a culturally affluent area, such as cultural facilities including cinema, gallery, art school cluster along with elderly club and child care center nearby. Through this regeneration, more affluent life opportunity was provided for citizens and local residents. This case study shows how old the building and interior space have been transformed to accommodate contemporary needs, while preserving historical features.

• 한국의상디자인학회지
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• 제21권3호
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• pp.81-91
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• 2019

Fashion exhibitions in museums are an important media to deliver ideas of fashion. Although it still arouses controversy, museums have become an ideal platform for fashion exhibitions since some fashion exhibitions have garnered successful results in mega museums. This can be considered as a cultural phenomenon and a new paradigm since fashion exhibitions in museums are closely related to new museums and fashion museology. Thus, this study examines the definition of 'fashion exhibitions in museums' based on new museums and fashion museology, and then lays the groundwork for its typology through an analysis of preceding research about fashion exhibitions from the 1970s to the present day. In consequence, fashion exhibitions in museums are categorized into five types; retrospective exhibition, survey exhibition, fashion photography and film exhibition, and consider both virtual exhibitions and fashion brand exhibitions.

• International Journal of Advanced Culture Technology
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• 제10권1호
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• pp.102-107
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• 2022

The emergence of independent cinema in the United States in the 1960s was the earliest sign of postmodernism in the country, which was often referred to as "underground cinema". The works, in a counter-cultural stance, overturned the thought of depth of traditional art cinema, not exploring the meaningful relationship between form and content in terms of artistic technique, but creating an aesthetic that echoed the "Pop Art" of the time by collaging established means of expression with traditional and fashionable ones in a consumerist manner. In this paper, American independent cinema was examined, firstly by analyzing the local and external factors that contributed to its rise. Secondly, two genres of independent cinema core paradigm, "underground cinema" and "pop cinema" were focused on, as a way of demonstrating the attention and influence that independent cinema has gained. Finally, we found that independent cinemas are also seeking for alternative exploration and diverse expressions in the context of the times.

• 미국학
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• 제44권1호
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• pp.113-135
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• 2021

The Civil War is widely accepted as the single most meaningful event in American history that overcame the most fatal crisis of internal division of the nation with much success. That meaningfulness in turn glorifies the North's triumph over the South and justifies hierarchical differences between the two. Yet, as shown in the studies of Civil War literature, such glorification and justification relies too much on the North-centered historical paradigm. This essay aims to offer a way of rectifying it by examining a short story by one of the persistently obscured writers of the period: Elizabeth Stoddard. The essay follows the cue of Alice Fahs's cultural-studies methodology of using popular wartime periodicals as the main resource of the war literature, and reads Stoddard's "Sally's Choice" as one of the examples that expose the hegemonic bias inside the North-directed discourse of the time. This essay is expected to demonstrate the necessity of expanding and deepening our conception of 'literature,' 'the Civil War,' and 'Civil War literature' in an ever-flexible and ever-changeable manner.

• 한국멀티미디어학회논문지
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• 제25권2호
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• pp.411-420
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• 2022

Entering the digital cinema era, movies and games are remediating each other. The shots of digital movies are being transformed into realistic content through digital Moving long-take shots that transcend time and space and move smoothly. At this time, the digital Moving long take shot that continuously captures the space in all directions without an external screen induces a game experience. In addition, the camera that constantly accompanies the person enhances the sense of immersion in the game in a way similar to the point of view of the game. While various immersive device contents represented by VR, AR and XR are emerging, the advent of <1917> suggests significant implications for post-cinema in that it creates a game experience while maintaining the traditional screen environment and cinematic paradigm.

• 미국학
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• 제42권2호
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• pp.161-185
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• 2019

Two recent novels on the Korea War, Lark and Termite and The Coldest Night, focus on two particularly disturbing incidents of the Korean War: the No Gun Ri massacre and the battle of the Changjin Reservoir. The novels explore the ways in which these ugly episodes of the war revise the official memory of the Cold War and resonate with the lives of those within the U.S. After excavating and examining the relevance of the Korean War, they simulate the older paradigm of returning to domesticity, reflecting not only the cultural and political tendency of the 1950s but also that of the public responses to the 9/11. This paper intends to read the significance of the treatment of the two novels on the Korean War as well as the limits therein to understand the implications of the shifts in the American public memory of the War.

• 수완나부미
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• 제9권1호
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• pp.7-52
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• 2017

This paper analyzes the scholarly approaches to the problem of "local" vs. "cosmopolitan" in the context of the cultural transfers between South and Southeast Asia. Taking the "localization" paradigm advanced by Oliver Wolters as its pivot, it reviews the "externalist" and "autonomous" positions, and questions the hermeneutical validity of the fuzzy and self-explanatory category of "local." Having discussed the geo-environmental metaphors of "Monsoon Asia" and "Maritime Asia" as alternative paradigms to make justice to the complex dynamics of transregional interaction that shaped South and Southeast Asian societies, it briefly presents two case studies highlighting the tensions between the "local" and "cosmopolitan" approaches to the study of Old Javanese literature and Balinese Hinduism.

• 한국콘텐츠학회논문지
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• 제12권8호
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• pp.114-122
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• 2012

최근 전통문화의 패러다임은 무형문화유산의 가치 재창출에 있다고 할 수 있다. 본 연구는 무형문화유산의 중요성에 대한 가치인식과 이를 통해 무형문화유산을 기록 보존하고 관리하는 아카이브를 활용하여 새로운 가치를 창출하기 위한 방법의 기초연구이다. 무형문화유산의 중요성에 대한 가치인식을 전문가와 일반인을 구분하여 실증적인 연구를 하였고, 아카이브의 기록물 중 기록영상과 기록영화를 전문가와 일반인을 대상으로 몰입도, 교육효과, 흥미도, 이해도, 행동의지에 대한 수용자 반응 실험을 진행하였다. 그 결과 전문가와 일반인의 차이점이 나타났는데. 전문가 집단에서는 기록영상에 대한 몰입도, 이해도가 높게 측정되었으며, 일반인 경우는 기록영화에 대한 몰입도와 교육효과가 높게 나타났다. 본 연구 결과, 전문가와 일반인을 모두 만족시키기 위해서는 그에 수준에 맞는 기록영상, 기록영화 등을 따로 분리 하여 제작 보급하여야 하며, 일반인들을 위해서는 무형문화유산에 대한 몰입과 흥미를 갖게 하는 요소가 무엇인지 파악하여 그에 해당하는 다양한 콘텐츠를 개발하고 전문가를 위해서는 그 기.예능을 전수 받을 수 있는 다양한 교육적인 콘텐츠가 요구 된다.

• 만화애니메이션 연구
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• 통권6호
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• pp.7-22
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• 2002

Animation constitutes the core of the media industry, which in turn lies at the center of the cultural industry. It is considered one of the industries where South Korea has the competitive edge over other countries. With the pool of customers getting wider, the genre of animation has become more and more diverse, forming a great market for it. Aware of this trend, this study focused on animation as a part of the pop culture, and on providing corresponding various viewpoints for future cultural studies. This researcher measured the practicality and persuasiveness of this study through Shreck, a three-dimensional C.G. animation which is acclaimed for its success in dismantling the old grammar of animation movies that represent the anti-Disney ideas. This researcher felt it imperative to heed the unique language of Shreck, which contains discourses on various cultural ideologies such as paradoxical structure that pits entertainment that is shown through dismantling of the canon, feminism and antifeminism against each other. This study analyzed the entertaining element of the animation genre by means of the Semiotics of Keith Moxey, thereby attempting to establish a legitimate social status of the genre, whose artfulness has been depreciated in the art society. In chapter II, this researcher examines the chronological development of three-dimensional C.G. animation that has shown a rapid advancement. Chapter III defines the cultural ideology of Shreck by exploring basic theories and texts employed in analysis of art works. This study started with the assumption that defines, from the viewpoint of symbology, the animation text as an aggregate of discourses on entertainment, and competitive and paradoxical ideologies. Then, this researcher analyzed the text and the generation process of meanings in Shreck. Consequently, this study has come to the following conclusions: First, Shreck induces changes of concepts about the canon by means of distorting and reversing the existing animation movies, which seems to reflect in the contemporary tendency of seeking new interpretations of entertainment. Second, Shreck shows up the cognitive changes of our age as to feminism by competing feminism against antifeminism. Although Shreck serves as a venue of competition between the two opposing ideas, it stops short of brushing off women as outsiders in society. Rather, it represents the resistance to the male chauvinism existing in the structures of animation and culture. As shown in the text analysis, Shreck presents an advent of a new ideology critical of the previous animation films. In addition, it reflects in the struggle between the pro-feminism on the part of the viewers and the anti-feminism that lies in the social and culture structure. This study, however, is limited in its scope and selection of subject. First, although this researcher has stressed the importance of understanding the animation as part of the pop culture and conducting researches within the historic paradigm, this study fails to provide an in-depth insight in the impacts that the changes in the C.G. industry and the systematic conditions may have on the three-dimensional C.G. animation genre. Furthermore, this study runs the risk of being understood as pro-American due to its selection of Shreck as its research subject.

• 비교문화연구
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• 제44권
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• pp.7-28
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• 2016

이 글에서는 푸에르토리코에 깊게 뿌리내린 인종주의를 이해하기 위해 세 가지 핵심적 용어를 중심으로 흑인성에 대한 사회문화적 배경을 살펴보고자 한다. 카세리오스, 레게톤, 트리게뇨스는 모두 푸에르토리코 사회의 인종민주주의 이데올로기와 깊은 연관이 있다. 카세리오스는 저소득층을 위한 공동주택으로서 범죄척결의 대상지로 지목되면서 흑인성에 고착된 폭력성과 무절제한 성, 가난의 이미지를 보다 확산시키는 결과를 낳았다. 레게톤은 2000년대 중반 세계적인 성공을 거두면서 푸에르토리코 섬뿐만 아니라 뉴욕 푸에르토리코의 아프로디아스포라의 음악적 힘에 주목하게 만들었다. 아프리카계 카리브 음악의 부상과 확산을 통해 푸에르토리코 문화적 정체성에서 흑인성이 갖는 의미를 재발견하는 계기가 되었다. 트리게뇨스는 물라토의 다른 이름으로서 최근 들어 혼혈인을 아우르는 통합적 용어로 자주 사용된다. 인종민주주의의 허상을 드러내는 한계와 더불어 흑인성의 대안적 개념이 될 수 있는 가능성을 지니고 있다. 이 세 가지 개념을 둘러싼 논의들은 고착화된 인종주의를 드러냄과 동시에 극복을 위한 문화적 노력과 잠재력을 엿보게 해준다. 인종적 불평등과 위계적 사회질서에 대해 역사적으로 침묵하도록 만든 인종주의의 고질성과 편재성에 저항하기 위해서 보다 강력하고 대응적인 문화정치학이 필요할 것이다.