• The Research Journal of the Costume Culture
• /
• v.16 no.6
• /
• pp.1050-1063
• /
• 2008

A movie is a fiction made on a basis of an author's and a writer's imagination, but all sorts of properties mixed with each other and most realistically expresses the era which becomes the background of a movie and acts as a carrier that connects designers with consumers. Thus, this study was carried out to review how the fashion products that designer's intention and commercial value added are expressed in collections by comparing and analysing the costumes in the movie "The Great Gatsby" that described the life of America's upper-class in 1920s and the 04 S/S Y&Kei collection which were proceeding after getting inspiration from this movie. For this, literature materials were inspected in order to make a theoretical review on social and cultural background and costumes history background in 1920s and the photo materials on movie costume were collected and analysed using DVD video captures, as well as the photo materials on 04 S/S Y&Kei were collected and analyzed through the institute providing domestic fashion information. The following conclusion was deduced through this study. First, in 1920s which becomes the background of this study, the slim shape of Flapper which looks like a young and boy became an ideal figure condition and the straight silhouette with low waist line and the short skirt that rose to knee was popular. Second, as a result of analysing movie costume by classifying it in silhouette, colors, and materials, straight silhouette of low waistline with a near colored - tone seen in the pastel series, including white, beige, pink, and gray was mainly constituted and the metal colors like silver and gold were used. As a material, chiffon, satin, velvet, flower patterned prints, and beads were used, which represented luxurious life of women in the upper classes. Third, as a result of comparing and analysing, it turned out that there was a similarity. However, in dress collection for a heroine, some dissimilarity differentiated from a movie costumes was found out in that the dresses in collection expressed moderate beauty and modernism and elegant beauty at the same time by matching a variety of materials and using black color.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.23 no.2
• /
• pp.43-52
• /
• 2021

This case study developed and operated "Fashion & Film" as a fashion-related liberal arts course. The class was designed to include fashion styles exhibitted in films, fashion-related PPL, fashion design through film, fashion images of movie characters, considering gender & color images expressed in movie costumes, and the history of western costumes and asian folk costumes in films. The class was counducted through various teaching methods, such as lectures, student's presentation of movie plots, and team discussions, which created a student-led class. The team presentations at the end of the term were intended to enhance the understanding of fashion through movies. The results of subjective lecture evaluation of "Fashion & Film" showed the most satisfaction with the communication with professor. Students said that it was good to understand fashion through film. They expressed a burden with the team project; however, they were satisfied with the team project outcomes. Students said that PowerPoint was used very effectively. On the other hand, there was an prevelent opinion that the content of PowerPoint and workbook did not match. To address this inconvenience, a textbook called "Fashion in Film" was published and used in the first semester of 2020. The multiple-choice evaluation showed that students were generally satisfied with the "Fashion & Film" class.

• English & American cultural studies
• /
• v.18 no.2
• /
• pp.1-26
• /
• 2018

This paper aims to examine the performativity of street politics through Suffragette. The movie exposes the bloody violence of Britain government and shows the militant suffragettes and their resistance against it. It also deals with history and 'story'of labor class suffragettes for political rights. The paper shows how the movie is re-born as an indexical art and the street politics makes the plural performativity. Most of all, it reads the difference between the government's violence wielded as a power to suppress the suffragettes and bring them to their knees, and the suffragettes's violence having the resistant and emancipated revolution. We can realize that the suffragettes used the mode of visibility to expose its incompetence and make their emancipated violence into the indexical force. And we can see the variations of street politics from the acts of Davison, Maud, and Violet.

• Journal of the Korean Society of Costume
• /
• v.62 no.8
• /
• pp.55-70
• /
• 2012

In 16th century, during renaissance time, Britain's queen Elizabeth I, as a means to express her authority, had an exaggerated clothing styles and was the fashion leader of the time. Thus, through a media of Cinema, tried to find out the characteristics and different aspects of the history of clothing styles, of how they changed, ascertained, restored, and reappeared in the modern time. The research was based on the consideration of Elizabeth I's 33 portraits and her clothing styles; and the research is also from analysing the movies from 1937 to 2007, a total of 9 Cinema and 102 clothes. Movie costumes' most important mission is representing the cinema's timely and spatial background. Thus, it is inevitable that ascertaining and restoring Elizabeth I's portrait should be done. However, the movie costume has to show her dramatic lifestyle, dignity, absolute authority, and other visual images. In addition, the costume has to contribute in making artistic effect and thus the creativity of a designer to satisfy all these needs should be added. Based on the findings from the research, the characteristics of Elizabeth I's Cinema costume are first, ascertaining and restoring portraits, second, mixture of silhouette and detail depending on time period, third, partial change on clothing style design, fourth, emphasis of ruff collar, fifth, magnification colors, sixth, avoiding excessive swelling and decoration, and applying modern style on Protective costume. Thus, based on the research, creative design in Cinema clothing, plays an important part in the history of clothing design. I hope this research could work as a foundation reference for clothing design's history.

• Journal of the Korean Society of Costume
• /
• v.57 no.5 s.114
• /
• pp.12-32
• /
• 2007

This study aims at investigating Geisha costume hidden in the history until now and how the fashion of Geisha style is expressed in accordance with character through the movie 'Memoirs of a Geisha'. Major contents of the text consist of studies including the historical background and characteristics of Geisha costume in Chapter 2, the Japanese style expressed in the movie through the analysis of the work in Chapter 3, The movie brought in an opportunity to spread the mysterious culture and art of Japan to the world, making Japanese style an important interest in the world of fashion as well. In a way to study this, the investigation was carried out through literature data, DVD and newspaper of , fashion magazine, articles from the Internet, ete. The Geisha trend has made the hot blast blown harder in such ways to affect not only fashion but also cosmetics, electronic appliance, interior, etc. In S/S 2006, it was not limited to the Japanese style but diffused to the Orientalism in China, India, Korea, etc. It can be said that this study has its significance to be a starting point in investigating the special characters of Japanese Geisha costume hidden up to now. In the studies following in the future, the formative beauty demonstrated per Japanese designer needs to be more studied. Furthermore, it seems noteworthy to analyze and compare Chosun Dynasty's Kisaeng with Japanese Geisha.

• Journal of the Korean Society of Costume
• /
• v.63 no.5
• /
• pp.151-166
• /
• 2013

In order to create a national myth and be able to control international society, America with her short national history, used popular culture to accomplish these goals. The medium fit this purpose the best was the use of superhero characters based on comics. Born and developed from the 1930s through the 1960s, which could be seen as America's national crisis era, superhero characters were thorough advocates of American justice and was perfect for the role of spreading the legitimacy of American ideology. From the 1970s, superhero characters became part of movies and became even more influential through the Hollywood's massive film industry and the box office success. American ideology in superhero characters symbolically appeared in movie costumes. Starting with Superman and Batman, the very first and typical superhero characters' costumes work as metaphors for realization of American justice. After the 1980s, superheroes were newly developed through a genre called graphic novel and the most representative piece of this genre is Alan Moore's Watchmen. In the Watchmen, which was also turn into a movie in 2009, six changed superhero characters appear ranging from a non-human superhero, villain superhero, superhero with mental disorder and superhero with sexual impotency, the characters were never-seen-before superheroes with different aspects that connote introspection and philosophical ideology. The changed type of heroes and ideology became another form of heroes, and this brought changes to character costumes that were never considered before. The superhero costumes that used to symbolize America now express different types of superhero by borrowing exotic mythical elements, undressing, pastiche and daily life clothes. The superhero characters and their changes in costumes from Watchmen imply American popular culture's introspective tendency. Amongst these changes, we need to raise our critical vision towards popular culture.

• The Journal of the Korea Contents Association
• /
• v.16 no.12
• /
• pp.233-243
• /
• 2016

The movie offers a chance to observe the social signifier and the sensitivity of audiences who feel sympathy with the tragic history of crown prince Sado. While watching the movie, the audience halts between ideas whether to go back to "primary ego", or to play the unconscious hypocrisy or the ingrained social behavior which is to resolve the internal conflicts while they face two contrary opinions; one is the obedient subject to obey fatherness, as a symbol of historic value and convention in a society, and the other is the resistant body to break the bond of convention. The audience may feel some ambivalent feelings of the moral values between the paternal authority and the existential philosophical value of 'self'. This study will observe the audience's response of Sado toward the moral norms of the society when they face the signifier of father in the movie with experience the conflict between their resistant ego and madness. Also the study will discuss that the social landscape such as norms, order, and legal system is ever-changing and open to be subverted by the future even though audience hope that the present moral value with which we are content ever-last.

• The Journal of the Korea Contents Association
• /
• v.19 no.10
• /
• pp.126-136
• /
• 2019

The film born by Lumiere brothers in 1895 was not the first. Edison, who invented the Kinetograph four years ago, has already made dozens of films. But it has been relatively undervalued. That's because the platform for projecting a movie was through a single person viewer called Kinetoscope. However, the physical characteristics of the film itself are the same as those of modern films, and have a unique aesthetic distinction compared to other early films. The subject is entertainment-oriented, and the image is characterized by contrast effect. In addition, even before the birth of the film, it shows the important creative elements and genres pursued by fictional films, and has industrial production systems and experts. If Lumiere's film is the beginning of a documentary film that portrays the fact, Edison's film deserves historical value as the beginning of popular film, which is the hallmark of modern cinema.

• Cartoon and Animation Studies
• /
• s.40
• /
• pp.1-31
• /
• 2015

The Korean animation that has relatively short history compared to the Western Europe and Japan's animation started out from the non-commercial short-piece animation produced as part of advertisement animation and culture movie in the later part of 1950s. In 1960s, the culture movie animation reflecting for the Movie Act and cultural policies has hardly been mentioned in the history of Korean animation, but they are the precious cultural work produced prior to the theatrical long-piece animation. In particular, compared to the 15-second short CF animation, the short-piece animations are ranging for 4 minutes to 10 minutes as the work pieces with the historic value to measure the level of the Korean animation at that time. in 1960s, approximately 20 short-piece animation works were produced and they contained the educational contents to enlighten general public in the process of modernization policy. Those short-piece animations produced in cultural movie at the National Film Production Center of Korea had been produced not only in cell-facilitating cartoon animation, but also in paper animation and puppet animation. In this background, this thesis takes a close look to the short-piece animation works produced in the National Film Production Center of Korea in 1960s. While there was almost no studies of early short-piece animation other than CF works, it is meaningful to discover and analyze the works, and, Director Park Young-il, Director Han Sung-hak, Director Jung Do-bin, Director Shin Dong-hyun, Director Nelson Shin and others participated in the creative work process have worked as the animation directors for theater that the analysis on the works would be considered as important fundamental studies to understand the Korean animation. Under this thesis, it is intended to study the historic implication and formative characteristics around some 10 work pieces to affirm participating personnel, including directors, for the short-piece animation created by the National Film Production Center of Korea as well as the situation of time to launch the National Film Production Center of Korea in 1960s. Through this effort, it is intended to come up with the starting point to process enriched researches on non-commercial short-piece animation as well as contemplation on the Korean animation history that have been neglected in the study of the Korean animation history through such effort.

• Journal of Digital Contents Society
• /
• v.11 no.4
• /
• pp.607-614
• /
• 2010

History centered knowledge based story-telling project planning tool supports the process of story creation in narrative genre about history of families or individuals. Narrative fields not only include drama, mythology, legend, history but also non-verbal epics such as movie, play, ballet and opera. But as verbal epic, this research paper focuses on the family history and individual history of each household. This story-telling planning tool redevelops each genre of story-telling about family history through sampleDB and informationDB, and it is widely applicable in concreting high quality stories in both its content and value. Reduces the time of planning story-telling, and impose minimum expenses in human resources. Content about family history is one of the most the fundamental and renowned contents in Story-telling but planning tool that is easily applicable in creating such content does not exist in statue quo. In this current system lacking creative infra, this research paper seeks to provide a planning tool that public can easily utilize, and by systemizing the tool. it aims to create a creative contents tool model applicable in variety of genres.