• Human Ecology Research
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• v.55 no.5
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• pp.481-490
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• 2017

This study considered the performing arts culture with a focus on Palgwanhoe Ceremony and various stunt-songs and dance (Baekhee-Gamoo) from the Goryeo period as well as examined the characteristics of performing arts' costume for Baekhee-Gamoo shown in Palgwanhoe Ceremony. The Baekhee-Gamoo shown in the Palgwanhoe Ceremony included acrobatics, traditions from comic dramas, puppet shows, mask plays, and four musical troupe flowers of youth in the Silla Dynasty, who excelled in beauty, bravery and the military arts (Sasun-Akboo). These were performed on a wagon ship with dragon, phoenix, and elephant animal masks (Yong-Bong-Sang-Mageosun). The characteristics of performing arts' costume for each performing arts are as follows. First, the general costume of the time was used for performing arts' costume. There were no special costumes for performing arts and it was just transformed or added for the efficiency of acrobatics. Second, the reality was improved by focusing on the historical research on costume suitable for characters and background of events in the performing arts to clearly deliver the purpose of the ceremony and quickly arouse audience's curiosity towards the performing arts' costume for the tradition of comic dramas and puppet shos in the Palgwanhoe Ceremony. Third, magical powers and symbolism were expressed through masks and performing arts' costumes. Palgwanhoe Ceremony aimed for magical powers that could protect weak human beings from threats and repel everything unfair while also symbolically showing the deified being through the performing arts' costume.

• The Research Journal of the Costume Culture
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• v.27 no.3
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• pp.239-250
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• 2019

Recently, young people wearing hanbok are highly visible in the palace and in Hanok Village. However, there is much controversy regarding whether the hanbok the young people are wearing is traditional. Young people in Korea are exposed to hanbok through a variety of ways such as school education, games, webtoons, television shows, and movies. In this study, we presented teenagers with illustrations of hanbok to see which they preferred and which if any they recognized as traditional. The study respondents most preferred the hanbok from the 18th century, but they considered the hanbok from the 20th century to be the traditional style. We next used text mining to analyze the students' freely written, open-ended responses regarding the hanbok they preferred and the one they considered traditional. The hanbok from the 18th century, the one the teenagers preferred, was a sexy, cool style related to gisaeng that emphasized the waist, whereas the hanbok they believed was traditional, the $20^{th}$-century hanbok, was simple, neat, comfortable, and plain. Among the young people's responses regarding which hanbok was traditional, the text mining extracted the following repeated words related to both the 18th- and 20th-century hanbok: "dramas," "mass media," "historical dramas," and "movies." For the 18th-century hanbok only, we extracted "webtoons" and "Hanok Village," and for only the 20th-century hanbok, we extracted "textbooks."

• The Journal of the Convergence on Culture Technology
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• v.9 no.4
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• pp.351-356
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• 2023

The purpose of this study is to analyze how the movie <The Book of Fish> (2021) represents Joseon, which is slowly collapsing with the Neo-Confucian order of the 19th century shaking, and to discuss its meaning. Prior to the analysis, the analysis framework of the historical drama was presented considering the narration characteristics of the historical drama. Using the analysis framework of historical dramas, we confirmed that <The Book of Fish> is representing the image of Jeong Yak-jeon and Jang Chang-dae living their lives as independent individuals between the limitations and possibilities of the times based on the plot structure of the narrative of exile. Through the central memory and surplus memory created through plot and style elements such as contrast between black and white and color images, voice-over narration, chinese poetry subtitles and music, the film asks us universal questions about what it takes to live as an independent individual.

• Journal of the Korean Society of Clothing and Textiles
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• v.40 no.3
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• pp.554-565
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• 2016

This study analyzed expressive effects of King Henry VIII's costumes in films based on DeLong's (1988) theory. Theoretical analysis was done through a literature research of previous studies from both domestic and international. Empirical research was used as a research tool for visual media such as , , and . An analysis on movie costumes indicated that King Henry VIII's costume almost matched DeLong's (1998) expressive effect on excitement, calmness, strength, and delicacy. King Henry VIII's costumes in films based on DeLong's (1988) theory expressed significant of strength and excitement in terms of expressive effects with some elegance. King Henry VIII's costumes had their expressive effects different according to the intentions of film productions, even for the identical event scenes with the same purpose. The findings of this study can be used as basic data for the research of design and costumes as well as the production of drama stages for historical dramas during King Henry VIII's reign.

• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.133-143
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• 2019

When writing historical dramas, there was an argument that restoring the language of the times was the responsibility of the playwright, but no full-scale research was done. There was no collaborative study between playwrights and Korean Language scholars. So far, many playwrights have considered it the responsibility of Korean Language scholars to discover and restore language. However, it is a medium that can easily meet the public like a play or movie, and it should have a great responsibility for creation. Language changes with time, so restoring the language of the time in plays and scenarios can lead to difficulties in communicating with modern audiences. However, the change of language according to the times means that it captures the social image and fashion of the time Therefore, language restoration in historical dream means that scenes and backgrounds can be described more realistically. Restore of language is not just necessary to improve the creative environment; it should be understood as the responsibility of the artist to meet the ability of the audience to understand the language of the times already learned. The playwright who writes the historical drama should not only learn the grammar of the background era, but also find out the lost pronunciation and the changed vocabulary so that he can use various dialogues.

• The Journal of the Korea Contents Association
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• v.12 no.2
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• pp.163-172
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• 2012

The hero is in the TV drama's long. TV drama Heroes historical blip on the public's desire to delegate to the body and its functions as an intensive, which have a specific period drama that soars like a hero's welcome and it is the communication between the viewer a sense of contemporary popular devices that can be separated. This study today, the various cultural areas which are becoming popular in Japan's historical hero 'Yoshitune' a heroic drama, the hero's narrative research stories In the analysis occupies an important place in the Joseph Campbell's 17 steps of heroic narrative, based on analysis achetype and adaptation. Campbell, 11 of the 17 stage dramas to apply different levels, and the omission of two steps, and shows a variation of the four stages, in order to relaunch the popular culture as the content selection and a constant strain was able to find out that you need.

• Korean Journal of Human Ecology
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• v.18 no.1
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• pp.189-200
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• 2009

In the Edo period speaking of hair culture, common women wore decorative pigtail ribbons on the right, and twisted from side to side their tressed hair in such a manner as ungeunmeori and traemeori. Instead of gachae, common women used gogae made of their own hair, ungeunmeori on forehead, or jjokjinmeori at the back of head. During the Edo period, people women naturally exposed their necklines as a way of exposing their faces in the aesthetically ceremonial act of wearing make-up. As for lipsticks, they rouged extracts from red petals of safflowers mainly on their lips, and sometimes on their cheeks by blending this with white powder. Samurai families disliked women who wore thick lip makeup. In the latter period, women painted their necklines or foreheads black, applied a small amount of rouge on their cheeks thinly or thickly, and colored a reddish color into their fingernails by using petals and leaves of balsam flowers. Despite the chronological and spatial proximity of the King Jeongjo period and the Edo period, it was found that there were no similarities between two countries' cosmetic cultures. Moreover, it was discovered that current TV dramas were being produced, even not based on historical evidence in the Jeongjo period.

• The Research Journal of the Costume Culture
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• v.23 no.1
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• pp.74-84
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• 2015

The purpose of this study is to examine symbolic meanings of costumes shown by portraits of King Henry VIII and use them as basic data for research on costume design of historical dramas in the Renaissance or on King Henry VIII's costume. This study attempted analysis of symbolic meanings from the paintings-related various domestic and overseas literatures, preliminary study paper, and web sites etc. The symbolic meanings expressed by the portraits of King Henry VIII are characterized by authority, innovation performance, authority, masculinity, innovation performance, artistic taste, intellectual charm, intrepidity and benevolence. Especially, the portraits of King Henry VIII symbolized his masculine beauty by emphasizing sexual attractiveness that cannot be seen in portraits of other kings through broad shoulders and exaggerated codpiece which are the zenith of masculine beauty during the Renaissance age. Through the image of King Henry VIII which was painted with jester or barber surgeons, his characteristic and open mind thinking highly of the technique and human life was also expressed. In the portrait of King Henry VIII, various images set in knights' tournament, playing a musical instrument and reading a book as well as the image of wearing a parliament costume were shown, highlighting King Henry VIII as a person good at both literary and martial arts with open and innovative personality than any other kings in history.

• Journal of the Korean Society of Clothing and Textiles
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• v.4 no.1_2
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• pp.35-42
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• 1980

Gan Tack is meetings for marriage in Royal Families only. There are three selection courses before the final decision of one person, and it done with a view to finding the best person in the country. On the history of costume, it was greatly changed in Yungjo's period. In this thesis, I studied the costumes of king Yungjo, Jungsungwanghu who is the consort of Yungjo, Inwonwanghu who is the consort of the late king, Sunhigung who is a seraglio of Yungjo, Ongjus who are King's daughters by seraglios, Sanggungs who are court ladies, Yumo who is a wet nurse, and etc., for Gan Tack with Hyaegyunggung-Hong who is chosen the consort of Prince, and research the Dresses, which are Jugori, Chima, Dangui, Gonryongpo, and Wonsam. The girls who attend Gan Tack dress up Jugori whose color is yellow, Chima whose color is red, and Dangui whose color is green. King wears in Gonryongpo, the Consorts in Wonsam, and the court ladies and Ongjus in Dangui, of course, there are differences of the colors and ornaments on the ranks. Finally, I hope this thesis will be of great help to the costume of historical dramas.

• Journal of Popular Narrative
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• no.26
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• pp.413-433
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• 2011

What this study aims is to analyze that how the stories of Prince Hodong are represented in modern historical fictions. The stories have been reproduced in many forms such as TV dramas, films, fictions, plays. It can be depicted that the narratives are indeed national and popular. Interestingly, however, the description of Hodong has not been found in pre-modern documents or fictions. The story began to appear and became popular in 1935 by Yoon Baek Nam. It can be explained that the narratives are the one of the example of the invented tradition since it became visible in modern period. Yoon, Lee Tae Joon, and Yu Chi Jin have constructed the character of Hodong what we are familiar with. Yoon depicted Hodong as a romatic lover with the motif of a lovers suicide. Lee and Yu put a context of nationalism by explaining Nakrang as a Nakrangkun of Hansagun(the four colonies of China). These are pure invention of the writers which cannot be found in The History of Three Kingdoms(三國史記). These characters are closely related with the surrounding of their own society. Yoon shows how the past can be seen as a nostalgic object by modern aesthetic perspective. Lee illustrates the ambiguous thought of a colonial intellectual who (anti)internalizes the ideology of militarism. Yu tries to find the way to recover the muscularity of the nation by re-colouring the memory of the past. These, the representations created in various contexts, make our common knowledges of Prince Hodong nowadays.