• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.223-230
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• 2019

This paper aims to derive the specificity of film music of Baz Luhrmann, a Hollywood film director, focusing on his representative works such as Dancing Heroes, Romeo and Juliet, and Moulin Rouge. Frist, Dancing Heroes captures various dance music genres through dynamic shooting techniques and shows trendy sensibility by using the main theme song 'Time after Time,' sung by the main character, Tina. Second, Romeo and Juliet, the original work of Shakespeare, keeps thier lines and stories while decorating gorgeous fashion and rock music in jukebox style. Also, it is harmonized with the most modern and trendy MTV-style video. Third, Moulin Rouge presents film music through the 'mix and match' method, which consists of jukebox-type trendy songs containing classical back stage musical and Bollywood musical images. In conclusion, the style of Baz Luhrmann has been reborn as a unique way of directing Buz Luhrmann's film music that it is expressed by connecting various juke box style music with amazing visual effect. Through director's style, it is possible to suggest the direction of various film music to the industries.

• Journal of the Korean Society of Costume
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• v.36
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• pp.239-262
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• 1998

The pursuit of freedom by the individual--desire to be liberated from all forms of restrictions-- is one of the defining character-istic of the modern society. As costume is, in part, a product of the spirit of the times, it was only natural that this desire for freedom would find its expression in modern costume as well. Among various forms of restrictions, differentiaton by sex has placed one of the most significant binding influences on individual behavior. From early times, the dichotomous division by sex was incorporated into the disign of costume, and the traditional differestriction of costume by sex imposed a significant restriction on the background,“the modern androhynous look”was born as a by-product of the sexual liberation movement in the second half of the 20th century, based on the concept of the individual as a complete human being rather than as a member exclusively of either the male or the female sex. This paper seeks to examine the androgynous look within a coherent theoretical frame-work, and explore new design possibilities by analyzing and understanding the visual characteristics of the androgynous look. In addition, this paper seeks to define the functional aspects of the androgynous look based on the premise that costume is an embodiment of the spirit of the times. As for research methodology, both theoretical and historical methods are employed. Through a theoretical examination of historical documents, the meaning of the androgynous look is explored from various angles, and order to examine its place in modern fashion, an-drogynous styles are categorized and system atically analyzed. The main findings of the paper can be summarized as follows : 1. Androgyny is a compound word consisting of“andro-”(meaning man) and“gyn-”(meaning woman). In modern times, this word has been associated with the socio-cultural aspect of gender rather than the physical or physiological aspect with the pshchological characteristics of the male and female sexes. Androgynous styles also appear in fashion and general arts such as drama, film, dance, and music. In fashion, the androgynous look, represented by the visual superimposition of “masculine”and “faminine”elements, has emerged as a major element of the 20th-century costume, and has gained broad acceptance among those free spirits wishing to be liberated from the conventional conceptions of male clothing, and the unisex look. 3. The androgynous look in modern fashion reflects the spirit of the 20th century society and culture, and performs various functions as follows : expression of fun, change in gender roles, expression of the inner consciousness, and pursuit of the ideal human type.

• 한국신재생에너지학회:학술대회논문집
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• 2006.06a
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• pp.110-112
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• 2006

Membrane electrode assembly (MEA) for polymer electrolyte fuel cell (PEFC) are commonly prepared in the research laboratory by spraying, screen-printing and brushing catalyst slurry onto membrane or other support material like carbon paper or polyimide film in a batch style. These hand applications of the catalyst slurry are painstaking process with respect to precision of catalyst loading and reproducibility. It has been generally mentioned that the adoption of continuous process is very helpful to develop the reliable product. In the present work, we report the results of using continuous type coater with doctor-blade to coat catalyst slurry for preparing the MEA catalyst layers In a faster and highly reproducible fashion. We show that while expectedly faster than batch style, the machine coater requires the use of slurry of appropriate composition and a properly selected transfer decal material in order to achieve superior MEA plat lnw loading reproducibility. To make highly viscous catalyst slurry that is imperative for using coater, we use 40wt.% Nafion solution and minimize the content of organic solvent. And the choice of proper high surface area catalyst is important in the viewpoint of making well-dispersed slurry. After catalyst coating onto the support material, we transferred the catalyst layer to both sides of Nafion membrane by hot-pressing In this case, the degree of transfer was Influenced by hot-pressing condition including temperature, pressure, and time. To compare the transferring ability, we compared so many films and detaching papers. And among the support, polyethylene terephthalate(PET) film shows the prominent result.

• Journal of the Korean Society of Costume
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• v.58 no.10
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• pp.1-20
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• 2008

The purpose of this study is to analyze the formative characteristic of modern Tap dance costume according to its origin and kinds. For this purpose, the study explored the review of literature focusing on the historical back ground of Tap dance and investigated into the kinds of modern tap dance and the formative feature of the tap dance costume. Costumes of leading tap dancers in representative performances and movies are analyzed. The results are summarized as follows: The kinds of current tap dance could be categorized as three types of Jazz Tap Dance, Rhythm & Funk Tap Dance, Irish tap Dance as their development origin. The Tap dance widely distributed through the U.S. Hollywood movie, The Jazz Tap Dance costume was composed of magnificent and luxurious design applying the high fashion of the 1930s and 1950s in the male and female costumes. The U.S. Blacks' tap dance, Rhythm & Funk Tap costume had a close relation with resistant blacks' culture, and showing the type of free dressing not bound by previous tap dance dress. The Irish Tap Dance originated from Irish folk dance displayed the tap dance embroidered costume using the Irish traditional pattern. This study systemized the characteristic of the tap dance costume by kind, and explored the dress revealed at the tap dance as a symbolic system to the cultural zone where the dance is made.