• The Research Journal of the Costume Culture
• /
• v.16 no.2
• /
• pp.382-396
• /
• 2008

The purpose of this study is to analyze the transition of glamour style expressed in modern fashion throughout the history. The glamour style in modern fashion was categorized into five periods which are Hollywood glamour(H), Feminine glamour(F), Rich glamour(R), Decadent glamour(D), and Trash glamour(T). These categories were analyzed and compared in the viewpoint of aesthetic values deduced on the previous study. As a method of analysis, literature study and case study through the publications in aesthetics, history and preceding theses were used. The results of analysis are: Ostentatious luxury was suggested by extravagance of the movie star in H, the splendid American lifestyle in F, conspicuous consumption in R, fin de siecle bad taste in D and self-assured exposure in T. Mysterious idolatry was studied as exaggerated goddesshood of the movie star in H. It was expanded to celebrities including fashion models, television actresses, pop singers and young couture designers in the other periods. Artificial sensuality was originated from the femme fatale image of the courtesan as well as the traditional femininity of Victorian era in H. It was developed through exaggerated hourglass silhouette of the wife dressing in F. But an aggressiveness in R, a hyper-sexual femme fatale in D, an independent and defiant image of the showgirl in T were observed. Playful queerness stood out clearly by the fin de siecle phenomena. Though it was embodied in sexual perversive subculture, it emerged as hi fashion by young designers in the late R and became a crucial aesthetic value throughout D and T. It is more connected with the origins of glamour which arouses sexual ambiguity, crudity, aggressiveness and death. The continuity and discontinuity of the glamour style based on the theory of 'linked solution' were also analyzed.

• Journal of Digital Convergence
• /
• v.6 no.3
• /
• pp.131-138
• /
• 2008

The Film-making industry in Korea has significantly expanded during last decade. However, the development didn't necessarily mean there's improvement in terms of the quality of life for the film staffs. In post-production stages, especially, any workers involved in the production can get tremendous amount of mental pressure and stress due to the deadline. Thus, in this period, most labor issues are found and often ignored. In this research, compared to Hollywood, Korean domestic film industry will be analyzed with focus on labor organizations. Their role will be explored and examined in terms of improving the qualify of life as well as of the film itself.

• Cartoon and Animation Studies
• /
• s.11
• /
• pp.137-151
• /
• 2007

This study is based on Tim burton's 'The nightmare before christmas' and analyzation was made to see how he used lights and to understand his unique color visual story telling style. The analyzation revealed that Tim burton used second class hollywood movies of $1930{\sim}60's$ and classical lighting style. He used this lighting style in 'The nightmare before christmas' as a really strong visual structure which substantially attributed to maintains it's fantastic mood consistently.

• 한국HCI학회:학술대회논문집
• /
• 2007.02b
• /
• pp.705-712
• /
• 2007

최근 뉴미디어 제품 디자인을 위한 텐저블 인터페이스(Tangible Interface)에 대한 연구 개발이 국내외에서 활발하게 이루어지고 있다. 이는 미래 미디어에 있어서 텐저블 인터페이스가 매우 중요해진다는 점을 시사한다. 현재 텐저블 인터페이스의 연구는 아직 초기단계이며 기술에 대한 의미, 컨셉트, 방향 등이 점점 구체화 되어가고 있는 실정이다. 따라서 본 연구는 실감공간기술(Tangible Space Initiative)이 다양한 방향으로 개발될 수 있는 잠재가능성을 가지고 있다고 보고 현실의 사회상과 다양한 미래기술을 반영할 수 있는 SF영화에서 많은 아이디어를 얻을 수 있을 것이라 생각했다. 이에 본 연구는 영화에 나타난 실감공간기술과 유사한 디지털 인터페이스를 적용된 감각, 전달된 정보의 종류, 세부 기술, 실감공간기술의 세가지 기본 컨셉트(사람과 사물의 상호작용, 사람과 사람의 상호작용, 사람과 정보 사이의 상호작용), 그리고 미디어 이용 동기 등을 기준으로 분석하고 유형화 해 보고자 한다.

• Journal of Fashion Business
• /
• v.22 no.3
• /
• pp.57-66
• /
• 2018

The purpose of this study is to gather basic data in the special effects make-up field and to provide a source of inspiration for creative make-up design by examining how special effects make-up is developed according to representative films. Two approaches are used in this study: a literature review and an empirical case analysis. In Korea, color TV was introduced in the 1980s, with the demand for a realistic image. Since the 2000s, 3D printing technology has been introduced to special effects make-up. Special effects make-up was first introduced in Hollywood films in the 1890s, and by the 1900s, artificial teeth and eyebrows were added and presented using general make-up techniques. Since then, 3D and 4D technologies and animation performance capture methods have been introduced and distributed due to the rapid development of computer technology.

• Journal of the Korea Society of Computer and Information
• /
• v.22 no.1
• /
• pp.77-87
• /
• 2017

In this paper, we propose an analysis of the sound source of virtual orchestral music in detail by using the production technology of sampling and playback, and technical experiments and verification for the most advanced Hollywood Library series of timbre and the timbre production and control technology of Vienna instrument Pro and other softwares, to find their solutions and come up with the best timbre production method for orchestral music from the perspective of the specific design ideas of the productions of virtual orchestral instruments. The so-called virtual orchestral instruments are non-real orchestral instruments, which are based on the imitation of timbre of real orchestral instruments, processed and synthesized through the scientific and technological means, and produced by the use of electronic equipments or computers. The study of virtual timbre production technology is very important, and it is like the study of composers' creative techniques. Not only scientific and advanced timbre production methods can be obtained from the study, but also new ways of future timbre production are expected to be explored.

• International Journal of Advanced Culture Technology
• /
• v.9 no.3
• /
• pp.142-151
• /
• 2021

The content industry was greatly affected by the pandemic that hit the world in 2020. The release and production of major Hollywood films were postponed. Performances, festivals, and mega-events such as tourism and the Olympic Games were also canceled or postponed. The innovation of the content industry became inevitable in line with these rapid environmental changes, and the industry had to undergo internal changes according to these external environmental changes. Representative examples are talent fostering and job creation for young people. This study conducts both SWOT analysis and PEST analysis on the South Korean content industry, thereby analyzing cases of talent fostering and job creation suitable for the new environment.

• International Journal of Internet, Broadcasting and Communication
• /
• v.16 no.3
• /
• pp.139-145
• /
• 2024

In modern society, many adults seek emotional solace by reconnecting with their childhood memories through "kidult" culture, especially as single-person households increase. This trend spans fashion, collectibles, movies, animations, games, and character merchandise, with Hollywood playing a significant role in its growth during the 1980s and 1990s. Kidult culture allows adults to relieve stress, foster creativity, and strengthen social connections, enhancing their quality of life. As this culture gains mainstream acceptance, companies are producing diverse products featuring beloved characters, appealing to a wide age range. The rise in single-person households has amplified the importance of personal expression and individuality, driving the popularity of kidult culture. Companies are leveraging this trend to create innovative designs that resonate with consumer preferences. This cultural expansion promotes new design forms and aesthetics, reflecting the evolving relationship between design and consumption. Kidult culture's growth underscores its significance in contemporary consumer and design culture, offering valuable insights into modern societal trends.

• The Journal of the Korea Contents Association
• /
• v.13 no.11
• /
• pp.87-95
• /
• 2013

"Gone with the wind"(1939, Directed by Victor Fleming) was produced in the stylistic conventions of the classical hollywood cinema, and thus the musical employment also followed the norms of the style, such as late Romantic musical style, serving the narrative, signifier of emotion, and giving continuity and unity. But, at the same time, the statement of the classical theory that the music hides and tailors itself to support the drama - invisibility, inaudibility, narrative cuing and so on - does not seem to explain the musical employment of "Gone with the wind." On the contrary, it hires music to put itself forward, and often times it stops the narrative to show musical spectacles for which the image is tailored to fit the music. These are more of music theatre or music drama features rather than the conventional underscore of the films in that period. In this study analysed the musical employment of "Gone with the wind" to see how it took full advantage of music to lead the narrative in a more active way and to make musical spectacles, by borrowing the technique and style of music theatre, such as, overture and entr'acte, similarities with film musicals, Wagnerism influence, and the use of songs.

• Journal of the Korean Society of Costume
• /
• v.57 no.4 s.113
• /
• pp.173-187
• /
• 2007

The purpose of this study is to analyze the fetishist characteristics and the aesthetic values of glamour style based on the premise that fetishism is the theoretical root of glamour style expressed in fashion throughout history. The following results are from analysing fetishist characteristics of glamour style. First, luxury was analysed from an angle of commodity fetishism. Every culture develops images and stories that portray a world in which its ideals are realized: a paradise, a utopia, a golden age, etc. Consumer goods often serve as 'bridges to these ideals'. People thus can fantasize about owning the perfect life. Crucially, however, they must never get everything they picture. That is why luxuries often take on displaced meaning. Glamour gives the displaced meaning visual form, making it beautiful and real. Second, the attention on the glamour of luxury goods as a bridge to ideals is connected to the glamour icon who is simultaneously a consumer of these luxury goods and a producer of cultural goods. Glamour icons including the courtesan of the late 19th century, the actress of the 1930s' Hollywood golden age and today's celebrities appear to efface the traces of production and create fetishist images in culture. Through this artificial principle, the commodity-cum-glamour icon comes to life as a splendid image of spectacle. Third, masquerade and seduction were analysed from an angle of sexual fetishism. A magnificent image of masquerade as sexual fetishism is often equated with femininity, especially in Hollywood movies, because the artificial seduction of the feminine -namely glamour- can be effected by the absence or silence of being. That is to say, the aesthetic revelation of femininity coincides with the fleshing out of artificial signs. Masquerade and the seduction of the feminine are connected with glamour's artificial sensuality from this point. Fourth, since 1980's when homosexuality as sexual deviation resurfaced as a hot topic, sexual ambiguity and bisexual image have gained attention as perverse sexuality. Next came queer theory, which reduced gender itself to a matter of surface rather than depth. According to queer theory, gender itself can be revealed as a kind of drag act. Drag's imitative performance may reveal that womanliness is just about 'dragging up'. Queerness as a decadent play makes a connection with the wicked origins of glamour. From these characteristics, four aesthetic values were deduced: ostentatious luxury and mysterious idolatry by commodity fetishism, artificial sensuality and playful queerness by sexual fetishism.