• 한국콘텐츠학회논문지
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• 제21권10호
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• pp.184-193
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• 2021

인터랙티브 다큐멘터리는 창작자와 수용자가 다양한 멀티미디어를 재료로 능동적으로 상호작용해 만들어내는 새로운 양식의 다큐멘터리를 말한다. 인터랙티브 다큐멘터리는 공론장을 형성하고 상호작용성에 기반한 경험을 통해서 수용자들로 하여금 사회 변화에 직접 참여하도록 매개하는 플랫폼으로 주목받고 있다. 하지만 이론적 관점에서 그 가능성이 체계적으로 탐색되지 못했고, 실천적 관점에서 가능성을 실현하고 발전시킬 방법에 관한 고려가 부족했다. 본 논문에서는 이론적 기반으로서 발터 벤야민의 정치 미학, 특히 예술의 정치화에 관한 논의들을 정리하고, 텍스트 마이닝을 통해서 인터랙티브 다큐멘터리의 매체적 특징을 분석한다. 그리고 이 둘을 서로 연결하여 인터랙티브 다큐멘터리의 정치적·미학적 가능성의 지도를 그려보고, 이를 바탕으로 실제 작품에서 그 가능성이 어떻게 실현되었고 한계는 무엇이었는지를 분석한다. 본 연구는 인터랙티브 다큐멘터리의 정치적·미학적 가능성에 대한 이론적 체계를 마련했다는 가치를 갖는다. 후속 연구에서는 이를 기반으로 트랜스미디어 액티비즘으로서 인터랙티브 다큐멘터리의 실천적 전략을 고민하고 실용성 있는 분석 및 기획 방법론을 개발할 것이다.

• 복식
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• 제28권
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• pp.169-186
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• 1996

Wangeja Chulgungdo (The Painting for a Crown Prince's Outgoing for Schooling to Sungkyunkwan) for this study which is held by the Korean university Museum is a kind of documentary paintings which not only have the value of art history but also give a glimpse of the court ceremonies for a Crown Prince. This painting offers various historical clues to understand the procedure for a Crown Prince's official entrance of Sungkyunkwan participants of the ceremony and other ceremony-related items$\ulcorner$Wangseja chulgungdo$\lrcorner$ was the painting drawn for a series of court procedures of Crown Prince Munjo's official en-trance of Sungkynkwan. When he was old enough to begin learning Sohak on March 11. 1817 that is ; he held Heonjakrye(a ceremony for offering drinks to the ancestors) at Munmyo passed Iphakye(a ceremony for en-trance of school) at Myungryundang and received Suharye the next day. $\ulcorner$Wangseja Chulgungdo$\lrcorner$ had the strong char-acteristics of documentary paintings in terms of art history which was intended to leave the historical event of a Crown Prince's entrance. It reflected the traits of documentary painting style in late Chosun Dynasty; a technique that strongly relieved the ceremonial scenes against the background such as mountains and rivers; a painting that not only captured the vivid actions of personalities ar the crucial moment of the ceremony but also depicted the cer-emonial vessels and items very realistically. Authors could confirm the ceremonial think-ing of the traditional society through a Crown Prince's entrance which controlled the details of every part of the performances of the court ceremony.

• 한국의류학회지
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• 제34권2호
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• pp.318-335
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• 2010

This study is to enhance the competitiveness of the domestic cosmetic industry and provide basic materials needed for a design idea by analyzing perfume bottles designed by Rene Lalique. The methods of this study are documentary research and demonstrative research. The documentary research considered the theoretical background with a focus on related domestic and international literature, previous research, and Internet materials. The demonstrative research extracted photo materials of the bottle designs of Lalique from domestic and international web sites along with literature that classified them into shapes, colors, materials, and patterns that analyzed the general characteristics and chronologic changes. The results of this study are as follows. The curve-oriented shape was common and multi-colors were used more frequently than a single color in the 1910's. Colorless-transparent glass and a flower patterns were used frequently for materials and patterns, respectively. Lalique reflects this style in his bottle designs because the Art Nouveau effect in the 1910's. In the 1920's, curved and straight shapes had a similar percentage. The use of multi-colors and one type of glass bottle increased versus the 1910's. Similar to the 1910's, a flower pattern was used most frequently. This suggests that Lalique was influenced by the established Art Nouveau and was also interested in the Art Deco style, In the 1930's, an organic curved shape was common. Unlike the 1910's and 1920's, a single color was more common than multi-colors. The one type of glass bottle and a geometric pattern were common for materials and patterns, respectively. The Art Deco style was reflected in the bottle design of Lalique in the 1930's.

• 디자인학연구
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• 제14권4호
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• pp.35-45
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• 2001

The origin of Minivan styled RV dates all the way back to the year 1959 when Volkswagen introduced the Microbus in Germany. But the new category of "Minivan" was made, and first used by Chrysler. This was when Chrysler revealed a new vehicle in 1982 named "Minivan". Minivan was successful in gathering the public attention with it′s multi-purpose characteristic. Ever since, many models were introduced in this category by various auto-makers around the world, which made the Minivan segment very competitive. Various Minivans were also introduced by the Korean auto-makers and these models have been finding their place rapidly in the market owing to their unique characteristics. But the reason for the growth of the Minivan category in Korea was quite different from that of other nations. Through out this thesis, the possibilities of a Minivan that can full fill the needs of a new life style of a family in the basis of various documentary records will be discussed. Ways of making roads, where bigger sized Minivans are continuously increasing, more efficient will also be considered. The main topic of this thesis will be about Minivan styled RV(Recreational vehicle) in relation to the change of Korean life style.

• 대한가정학회지
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• 제36권9호
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• pp.13-33
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• 1998

The purpose of this study is to examine the styles of street fashion in youth sub-culture which has the leading power of 1990's Korean fashion flow. This topic has been explored in documentary studies about the youth sub-culture and the background of street fashion. Then, it also continued to classify street fashion styles in order to grasp the meaning as a young fashion. The results of this study are as follows. Street fashio of Korean youth are composed of four styles. ; The first is a hip-hop style. The hip-hop of Korea is started by 'Taiji Boys' and their representative apperances are the big-baggy pants, the reversed cap, the thrown backpack. The second is a reggae style. It is formed by the singer 'Kim Gun Mo'. It features the primary color and the use of ethnic fabrics. The third is a kitch style. The kitch is definitely represented by the old, the childish and the satire appearances. It came up with the rock band 'pipiband'. The forth is a sporty style. It comes from 'basketball' and 'skateboarding' which the young people prefer. Its designs are applied from the back-number of players, the names of the teams, the stripes of active-feeling. Based on this study, I designed cloths with 3 concepts to present a new design direction of Street Fashion. Work 1, 「JOY-RIDE」 represented the freedom and the release which are shown by pop music and dance. Work 2, 「GAMMA ENERGY」 represented the dynamic energy through sports games. Work 3, 「AROUND THE CORNER」 represented the form of street including comers, walls, roads etc.

• 한국의류학회지
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• 제17권1호
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• pp.137-149
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• 1993

The concept of style including the external form and internal meaning provides a useful structure to clarify the historical phenomenon on dress. The purpose of this study was to explore surrealism related to the external form and internal meaning and the stylistic change of surrealism through 1930 and 1988 according the linked solution proposed by Brodsky. The results were as follows; 1. In terms of double roots including the external form and the internal meaning on the surrealism of dress, first, the external form was founded to be that each objects having symbolic meaning was dislocated from its original place to dress. Second, the aspects of internal meaning intended to represent not rational and external world but irrational as well as to reveal other nature of object or dress itself. 2. The change of surrealistic style on dress was characterised as "linked solution" change theory than cyclical change theory through the historical data from 1930 to 1988 of documentary sources.

• 복식문화연구
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• 제7권5호
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• pp.46-55
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• 1999

This research, as a study of the documentary records, examined the process of men\`s wear development year by year, looking into the newspapers which show objectively social phenomena in those days. The outcomes therefrom were classified according to the important factors of dress and ornaments\` modeling i. e. style, color, pattern, material, ornamentation method. And then, the process of men\`s wear transition was analyzed based on the aforesaid examination with its classification. The above analyses revealed that a transition of a dress and ornaments closely correlates with a social and cultural change and also meant that the dress and ornaments symbolizes the social phenomena in those days. Thanks to the holding of Seoul Olympic Games in 1988, Korean society had tremendously grown with rapid changes in its politics, economy and culture. Also, men\`s wear type became innovative, breaking from the existing orthodox one due to the transition of men\`s viewpoints on value and their lives\` style.

• 한국주거학회논문집
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• 제7권1호
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• pp.85-94
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• 1996

The purpose of this study is to examine the trasfiguration of the inner-courtyard (MADANG) at the single-detached urban dwellings in Taegu using the documentary research and survey method. The data was analyzed by the frequency, percentage, and x2-test. The major finding of this study was that the conventional meaning of the inner-courtyard existed in the designation and necessity, facilites, and needs in the future of the open space at the single-detached urban dwellings. Although people who were in their 30s favored the western style of house and garden, people who were in their 50s favored the traditional style of inner-courtyard. Finally, the concept of inner-courtyard at a single-detached urban dwelling is gradually changing to that f westren garden.

• 한국의류산업학회지
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• 제13권6호
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• pp.877-887
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• 2011

The purpose of Sassanian dynasty was to succeed the civilization of Achaemenid dynasty but it shows vestiges of Parthian civilization in many ways. This study is an attempt to take a look at Sassanian civilization through analyzing these rock reliefs since these features are shown on the rock relief of Ardashir I in early Sassanian Iran. The way carried out this study was first, to collect and search documentary data to establish the theoretical background, and collect positive data by exploring this region and then we comparatively analyzed the two data in general and the result is the following: The form of costume is different according to the person's status. In the early period of Ardashir I the costume style of the royals is reflected by clothes such as tunic, trousers in parthian style. However, trousers do not have vertical pleats which are commonly shown in the case of parthian trousers. It assumed that after the early period of Ardashir I, Sassanians formed their own styles. The form of cap is also different according to the person's status. Ardashir I and the Ahura mazda god put on crown and Korymbos which symbolized the sovereign power. Except the king and the god, the prince and the king's vassal put on high caps called Kolah. Diadem which symbolized sovereign power of king was used by the king, the god and the crown prince. There are two kinds of diadem. The first form has vertical pleats and the other does not have pleats. This form became different depending on the social position. The form of hairstyle is generally thick curly hair which goes down until the shoulder. There is no difference in their hairstyle in terms of the social position. The beard style is generally in the form of scoop. There is also no difference in terms of the person's status.

• 한국의류학회지
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• 제29권2호
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• pp.379-390
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• 2005

Every Society has it's own ideology and lifestyle and these form its unique aesthetic experience or values. In the paper observing recent, especially in 1980s and 1990s. Korean street fashion that is one way of expressing their values and lifestyle, the aesthetic values related to the morality have been studied. Through the studies using the cafes of Korean street fashion style we can understand the change of morality and fashion style according to the change of socio-cultural environments more deeply. For study methods documentary study and case study were executed. Morality related clothing were defined in detail through documentary studies and for analysis of street fashion from 1980s and 1990s the cases from 'Mut' and 'Ceci' magazines as well as the articles from Chosunilbo, Dongailbo and Maeilkyungje were looked over one by one. By understanding the intrinsic meanings and formal features of resent Korean street fashion, the direction for future fashion designing could be guided, which could satisfy consumers' needs in the rapidly changing world situation. Followings are the results of the study. First, morality of clothing could be defined in detail regarding modesty and extravagance. Modesty could be directly related to exposure of body and norms for appearances and extravagance to fashion oriented, luxury goods or brand name oriented and spending. Second, the exposing body has been accepted and permitted by public even with criticism more easily but they were less generous to values about norms regarding clothing. Third, the change of morality related to modest has happened earlier than the change of morality related to extravagance, which has begun very recently in 2000s.