• 한국의류산업학회지
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• 제16권1호
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• pp.26-34
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• 2014

This study considered movie costumes shown in 'Alice In Wonderland' by Tim Burton based on the Theory of Fantasy in Literature by Tzvetan Todorov and Rosemary Jackson. The research method used was a case study on expression types of fantasy used in movie costumes with a literature research based on the Theory of Fantasy in Literature. The Theory of Fantasy in Literature has significance in suggesting a new theoretical approach for understanding a visual perspective and aesthetic characteristics shown in fashion as well as movie costumes. The conclusions of the study are as follows. First, fantasy can connote characteristics of the marvelous, the uncanny, and the imitative through a consideration of Theory of Fantasy in Literature. Second, the marvelous is what is not beautiful, not ugly, but is strange and surprising, and what escapes from the existing norm. The characteristics of the marvelous in movie costumes are expressed through cross-dressing or displayed by allowing the personified animal to wear clothes. Third, the uncanny is something that causes grotesque, disgusting, comic and recreational responses. The characteristics of the uncanny in movie costumes are expressed through exaggerating and artificially transforming the body. Fourth, the imitative is the property of trying to imitate or follow other things. The characteristics of the imitative in movie costumes are indicated by dismantling and expanding a form through borrowing costumes from various ages.

• 디지털콘텐츠학회 논문지
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• 제9권2호
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• pp.349-356
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• 2008

현실과는 다른 법칙이 지배하는 유토피아적 월드를 제공하여 플레이어들이 지닌 탈일상의 욕구를 충족시켜야 했던 MMORPG는 시간이 흐르면서 변화하고 있다. 현실에 대한 도피처가 아닌 색다른 월드를 구현, 새로운 경험의 장을 제공하는 MMORPG가 주목받고 있는 것이다. 본 논문은 환상의 범주를 바탕으로 여러 MMORPG의 배경 서사를 비교 분석한다. 즉, 톨킨 류의 중세형 판타지에만 초점을 맞추던 이전 MMORPG 배경 서사와 최근 몇몇 게임이 지니는 새로운 배경서사 경향을 비교, 그 차이점과 특징을 제시하는 것이다. 이는 <리니지> 이 후 비슷한 게임만을 양산해낸다는 지적을 받고 있는 국내 MMORPG의 배경 서사에 새로운 시각을 제시할 수 있을 것이다.

• International Journal of Contents
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• 제17권2호
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• pp.32-40
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• 2021

With love as the theme and mythology, ghosts and magic as elements, Korean fantasy TV dramas have set romantic and beautiful plots and attracted a large number of Chinese female audiences. Based on Melodramatic Imagination and Stuart Hall's theory of "encoding/decoding", this paper investigated Chinese female audiences' motives of watching Korean fantasy TV dramas Hotel Druena through the form of focus group interviews to interpret reasons for the popularity of Korean fantasy TV dramas and Chinese women's overall cognition of Korean TV dramas from the perspective of female audiences. Thinking that South Korea's fantasy dramas are good at women's pursuit and desire for emotional elements, women who watch this type of south Korean TV dramas are temporarily relieving pressure of real life, thus satisfying the needs of female gaze and consumption.

• 복식문화연구
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• 제16권5호
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• pp.963-978
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• 2008

This study examined the images and formative features of female characters portrayed in fantasy films. This study aimed at providing an applicable theory to modern fashion by reconsidering the images of women appearing in fantasy films and arranging fantastical features reflected in costumes of female characters. The followings were the results of the study: The first divine nature that human beings discovered was woman nature. The discovered stone worked of the prehistoric age had a meaning of the great mother of universe and expressed a positive image. Such positive images of the goddess were variously differentiated to negative images or reduced in their roles and meanings in the settlement process of patriarchy as well as sociocultural transition. The foremost examples of negative image were expressed as grotesque, destructive, otherness, sensual, and exotic. The positive image of a goddess in fantasy films was not especially emphasized. On the other hand, the negative images of the goddess and the case of costumes were variously expressed as well as emphasized the typicality of the negative image of the characters. It was reconsidered that the typical features of characters in fantasy films were a result of the image of women following sociocultural transition. In addition, it was confirmed that such result was being reflected in film costume.

• 조형예술학연구
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• 제6권
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• pp.60-80
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• 2004

This study aims at the observation of the Real in the Post-Lacanian theory. It is focused on two questions as ideology and fantasy. On this basis Slavoj $\v{Z}i\v{z}ek$ has rearticulated the theory of ideology by reexamining Althusser's version of it critically. The ideology is the logic of fantasy based on the foreclosure. And the ethical act of identifying with the symptom is absolutely called for in order to radically rearticulate it. The really key element in the concept is now found to be Lacanian object a, the symptom as jouissance. In additional, the two part of the study, far from belonging to two different domains, that of political analysis and artistic analysis, relate to each other like the two surfaces of a Moebius band. Finally, the role of the Lacanian real is radically ambiguous: true, it erupts in, the form of a traumatic return, derailing the balance of the Order, but it serves at the same time as a support of this very balance. The real functions here not as something that resists symbolization, as a meaningless leftover that can not be integrated into the symbolic universe, but on the contrary, as its last support.

• 영미문화
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• 제14권2호
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• pp.49-75
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• 2014

This paper argues that John Leguizamo disguises ethical intention with humor in his one-person show, Freak. The argument proceeds in three stages. First, on the basis of Slavoj ${\check{Z}}i{\check{z}}ek^{\prime}s$ theory that fantasies teach us how to desire discussed in The Sublime Object of Ideology, I analyze how and why Leguizamo exaggerates and thus de-constructs the ideological fantasies about Latin Americans in Freak. Through this analysis the ridiculous exaggeration of the fantasies and their deconstruction emerges as the means to surface the trauma caused by the fantasies, internally and externally curing and reconciling the audience. Second, I apply ${\check{Z}}i{\check{z}}ek^{\prime}s$ theory of the quilting point introduced in Looking Awry: An Introduction to Jacques Lacan through Popular Culture to reveal how "blots" in Freak form "black holes" in the audience's consciousness to smash their established view of the reality, inducing them to encounter with "the real." The investigation into Leguizamo's use of humor as the quilting point illuminates how he invites the audience to look awry beyond the popular fantasy at "the real" America. Third, on the ground of Emmanuel Levinas's theory that theaters are the space of ethics, namely "ethotopos" to emphasize responsible actions discussed in "Ethics as First Philosophy," I assert that Leguizamo disguises his ethical message with humor so as for the audience to recognize their responsibility for others in America and take action towards change.

• 한국의류산업학회지
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• 제14권2호
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• pp.184-192
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• 2012

This study analyzed silhouette expressions in the fashion illustrations by theory based on results of studying the characteristics of the forms and meanings of the silhouette expressions in art historically. For the actual considering this study collected and categorized fashion illustrations from 1990 to the present limitedly, and clarified the meaning of the silhouette expressions. Those expressions in fashion illustrations were categorized to the 5 items; black & white silhouette, color silhoutte, pattern silhouette, paper silhouette, line silhouette. Silhouette expressions of the fashion illustrations were categorized to 3 items: metaphorical fantasy, essential minimization, anonymous representation.

• 한국실내디자인학회논문집
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• 제17권6호
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• pp.120-127
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• 2008

Korean space design image is a kind of writing as well as one of the sign that dissembles itself as a direct transcript of what it represents. Moreover it is pictorial representation and notions such as mental and perceptual imaginary. Significance of Iconology lies in how we transform image and the imagination that produces it into power of trust and respect. From this point of view, the process of this study is illustrated as follows: At first, this study search out concept of archetype, collective unconsciousness and collective representation that found principles on basic theory for interpretation of korean space icon. Secondly, it mentions theoretical background of iconological contents and structure. And it clarifies Iconology as a method that is applicable logic for Korean space design. Finally, as an analysis of korean space design, this study analyse in three steps that are pre-iconological description, iconological analysis, iconological interpretation each in terms of modernization at regional korean space design. In the step of the pre-iconological description, it describe visual representative style based on era and place. In the step of the iconological analysis, the typical structure is classified in status, vernacular, ethnic, traditional. In the step of the iconological interpretation, connotation is categorized into allegory, multivalence, potential. Through this process, this study suggest that iconology is an appropriate analysis system of Korean space design images that represent symbols combined with our collective emotion.

• 한국엔터테인먼트산업학회논문지
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• 제13권6호
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• pp.87-94
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• 2019

한국 영화는 섬세한 서사, 함축적인 감정 표현, 아름다운 장면으로 동양 미학 독특적인 묘미를 보여준다. 본 연구는 영화 서사학 이론을 활용하여 한국 영화 <신과 함께 -죄와 벌>에서 나타난 동양 미학적 의미를 분석하고자 한다. 이 영화는 가족애를 주제로 한 판타지 영화이다. 아시아에서 많이 알리는 불교의 인과응보와 환생륜회를 영화의 틀로 하며 가족애를 영화의 핵심으로 하였다. 그리고 놀라운 시각 효과로 지옥의 세계를 그려졌는데 스릴러의 메인라인에서 가족애를 표현했다.

• 한국콘텐츠학회논문지
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• 제14권10호
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• pp.41-50
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• 2014

본 연구는 학문적 연구 대상에서 소외돼 온 텔레비전 드라마 작가에 관한 지속 연구로, 멜로드라마 <사랑과 야망>, <내 남자의 여자>의 남자 주인공을 중심으로 김수현 작가의 의식 저변을 확장 탐구하는데 그 목적이 있다. 본고는 자율 통제 의식에 의해 텔레비전 드라마 장르에서는 보기 드물게 홈드라마와 멜로드라마의 장르 선긋기를 명확히 하고 있는 김수현 작가의 차별성을 통해 상대적으로 두드러지게 발화된 작가 의식을 탐구한다. 또 이를 위해서 본고의 연구 방법으로 라깡의 성 구분 이론을 남성 주인공에게 적용함으로써, 라깡의 욕망 이론을 적용한 선행 연구의 여주인공 분석결과를 확장하고 있다. 라깡이 제시한 남성과 여성의 성 차이는 생물학적 기관, 혹은 불평등한 제도나 관습으로 발생, 고착 존재하는 차이가 아니라 심리 문화적 산물에서 발생하는 차이임이 강조되어야 하는 개념이다. 라깡에게 남성이란 상징적 팔루스 질서에 예외 없이 종속되어 존재하지만, 그 질서를 넘어서 예외가 되려는 환상 때문에 역설적으로 팔루스적 질서에 감금되는 '분열'된 주체이다. 분석 결과 김수현 작가에게 남성과 여성은 인간 주체에게 불가능한 팔루스의 향유를 각각 서로 다른 방식으로 획득하려는 '동일'한 '분열'과 '결여'의 인간주체로, 남녀의 성차이를 심리 문화적 산물로 강조한 라깡의 인식과 동일하다. 또한 20년 세월의 간극 속에 팔루스의 향유와 잉여 향유를 동시에 누릴 수 있는 여성에 비해 상대적으로 대상 a를 통한 환상의 팔루스 향유만을 누릴 수 있는 남성에 관해 좀 더 포용적인, 좀 더 중립적인 김수현 작가의 남성 인식의 변화를 가늠해 볼 수 있다.