• Journal of Fashion Business
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• v.13 no.1
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• pp.152-166
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• 2009

By virtue of the development of mass media, the cinema, the composite space art taking the visual and auditory elements together, exhibits the actual life of the realities, thereby having a mutually close relationship to social, cultural and economic fields and continuing to generate the fashion code as well as reflecting the image of the times. Especially, fashion style in movies delivers their image and atmosphere and becomes the means for containing the personality, spiritual world and inner thinking of the characters in the movie and inducing its plot. Therefore, this study was intended to make clear that fashion fuses and shares with a diversity of genres such as movies and the like, becomes the cultural model that proceeds to create a new culture in relation to daily life and induces and presents the trend of contemporary fashion. For this purpose, this study attempted to analyze fashion style in the movie. Lolita is the fiction published by the Russian?American writer Vladimir Nabokov($1899{\sim}1977$) in 1954. It is the fiction that portrays the unethical love between Humbert, a middleaged man, and Lolita, a girl in her 10s. It was cinematized by the director Stanley Kubrick for the first time in 1962 and revived by the movie director Adrian Lyne in 1997. The character of Lolita has a younger look like a girl and looks immature in the movie directed by the movie director Stanley Kubrick and the movie director Adrian Lyne. But the character of Lolita has the commonality that she showed an incomplete female image of having a sexually freewheeling thinking. Thereby, this study sought to prove that the created fashion style of the character in the film not only became the clue to enable us to know the time and space background in the film but also helped the film develop effectively by performing a role of portraying the character in the movie. And it attempted to present that it becomes both the foundation for leading the fashion trend shown in contemporary fashion and the code of mass culture. Fashion style of Lolita in the movie appears to be reflected diversely in mass culture as well as fashion style in the contemporary times.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.223-261
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• 2019

This article is a reexamination of the feminist criminal narrative I wish for what is forbidden by Yang Gui-ja in the context of the rise of the women's movement and consumer culture of the middle class in Gangnam in the 1980s and 1990s. At this time, the explosive media culture served to strengthen the ideology that placed the middle-class family at the center as well as the consumption culture. The combination of consumer media culture, women's movement and democratization created a soft and domestic male image while visualizing the material foundation of the middle class in the 1990s of South Korea. In this novel, the domestic male image transforms the feminist criminal narrative into the narrative of the femme fatale attacking the stability and dignity of the middle class family, and at the moment of the transformation, the feminist woman Kang Min-ju is killed by a lower class man who has admired and loved her. This novel is not only current but also signifying as a text that overlaps sociocultural reproduction and feminist issues of the middle class based on Gangnam in the 1990s. This is because it shows the sociocultural context of femicide, such as serial murder of targeting women, as a core code of criminal narrative to be held in Korea since the late 1990s.