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

• Review of Culture and Economy
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• v.20 no.1
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• pp.105-128
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• 2017

The purpose of this paper is to analyze the impact of distributors on the movie exhibition by distributor types. For the analysis, the concept 'screen elasticity of box office' is adopted. Using the weekly screening data of 94 hit movies released in Korea in 2014 and 2015, the panel analysis estimates the 'screen elasticity of box office' with the Hausman-Taylor estimator. The results show that the screen elasticity of box office is smaller for vertically integrated distributors(CJ E&M and Lotte Entertainment) and Hollywood distributors than the local distributors(Showbox and NEW) that do not own integrated cinemas. This means that exhibitors allocate a larger number of screens to vertically integrated distributors and Hollywood distributors. As the two distributor groups had higher market share during the period, the results imply that the screen elasticity is related to the market performance of distributors. Smaller screen elasticity of the vertically integrated distributors might be related not to the ownership to theaters but to higher market share of the distributors.

• Archives of design research
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• v.16 no.4
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• pp.207-214
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• 2003

The reason why rhetoric is important to a moving image is that a moving image communicates through non-verbal communication language. At first, rhetoric in a moving image functions to be persuasive in the story of a moving image. Second, rhetoric works to enhance an aesthetic value for a moving image. Thus we feel good when we are watching a moving image with well embeded rhetoric. On the other hand, we see extened rhetoric to enhance an imaginary because of a hollywood movie with visual effect and a digital movie. Visual images now formed using more signigier compared to signified for signification. Also we see that every signifier structured metaphorically to function as a sign. In this paper, 1 am going to explain the principles of rhetoric applied to a moving image so that we can better understand a signification on visual image.

• 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.

• Journal of the Korean Society of Clothing and Textiles
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• v.24 no.4
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• pp.538-548
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• 2000

A study analyzes the eclectic trend shown in Andy Warhol look to explain the pluralistic aspect which is expressed in the late 20th century's fashion. Eclecticism is a trial to dismantle the barriers between pure art and popular art, high culture and low culture. This pursues harmonious accommodation and coexistence of all areas without being confined in the conventional lofty taste or high art. This thesis studies the characteristic aspects of the eclectic trend by classifying this trend into sell culture, mass media and fashion around the Andy Warhol look. The sexual eclectic trend in Warhol look is bisexual one shown in clubland and the world of modeling and supplies fashion with abundant expression and ambiguity. Warhol established cultural eclecticism by compounding high cultural factors and low cultural factors. broke up the boundary between street fashion and high fashion and escaped from the fixed idea on materials and design. Also he generalized and democratized specialty or nobility conventional paintings had possessed through introducing repetition and mediocrity and fully utilized every kind of mass media, Hollywood movie stars and daily necessaries in producing works. Andy Warhol who asserted‘Business Art’that was the mixed form of artistry and commercialism had creative and futuristic taste and proposed the direction to develop current fashion and art where the concept of economy is importantly brought into relief.

• Journal of Korea Society of Digital Industry and Information Management
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• v.13 no.4
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• pp.193-199
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• 2017

This study applied the scenario of the film "Warcraft: The Beginning, 2016" based on the world view and nonlinear story of online games to the basic requirements of a good story of five items. Based on this, it was found that the storyline of the film "Warcraft: The Beginning, 2016" was faithful to the game series with the same title, but weak for a film. This film did not satisfy any of the five requirements of a good scenario used for Hollywood production. Even before this film, many hit games were made into films, but box office hits are hard to find among them. As the game World of Warcraft was very famous worldwide, when it was made into a film, the film was expected to be a box office hit. However, it failed miserably at the box office. This is a result of failing to recognize that the characteristics of games that an individual leads the story are different from those of films that no interaction or choice can be made. It is necessary to understand that although games and films are the same in that they have narrative structures and visual stimulation graphics, they are totally different in the way they immerse people.

• Journal of Fashion Business
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• v.21 no.3
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• pp.80-92
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• 2017

Fashion trend is more than a social phenomenon that multitudes of people accept as popular styles of clothing. The purpose of this study was to understand the influence of fashion trend over time and distance. Geographically thousands of miles apart, the U.S. has strongly influenced fashion in Korea, revealed by references and historic depictions collected from literature and web sites. Results of the study are summarized as five issues: First, emergence of female missionaries from the U.S. American missionaries working in the late Great Korean Empire performed a significant role importing Western culture to Korea. Second, as opportunities of education increased, women studying abroad introduced Western fashion to Koreans when they returned to Korea. They were more open to Western culture than other Koreans and moderately harmonized their Korean sentiment and Western culture, mitigating cultural shock and enabled other Koreans to accept Western culture. Third, the effect of fashionistas on media. Singers working for U.S. armies stationed in Korea and movie stars appearing in Hollywood movies profoundly affected Korean pop culture and fashion trends in Korea. Fourth, following First Lady Jacqueline Kennedy of the U.S. She was an influential figure in those days and a fashion leader as well. Lastly, acceptance of working girl fashion depicted in American television shows. American working girls depicted on American TV shows were highly admired by young Korean women, so the fashion of American working girls became a major fad among young Korean women.

• Archives of design research
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• v.11 no.1
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• pp.33-42
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• 1998

The movie, (Jurassic Park) made by ultramodern Computer Graphics has earned 100 million dollors admission fee in 9 days after opening release and has earned 3000 million dollors that add direct income to relative field income composed by fancy industry, theme park, and so on. If you compare the income with hollywood movies with ours total amount of export, you will know the contents industry scale Many countries weight on contents industry in national supports movies, now. All image softwares that have same target movies, computer game, animation, etc. compress to contents to entertainment and was expected to secure the superiority on the 21th ultramodern media industry. The one have hegemony 21th information period if how much have the contents by the dizital broadcasting. But meaning of intercultural communication play on important part more value of contents than value of political and economical aspect.

• Cartoon and Animation Studies
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• s.51
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• pp.159-179
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• 2018

As digital media evolves, image changes have evolved from 2D to 3D. At the end of the 1930s when the US overcame the economic crisis and met the Second World War, people needed a hero to escape reality. In DC (Detective Comics), superhero comics started to become popular by making superhero series mainly with Super Man and Bat Man. Timely Comics, founded by Martin Goodman in 1939, also published Marvel Comics, the first comic strip in epochal comics on October 1 of the same year. From this point on, Marble has developed mainly in the cartoon industry. However, in the development of the times and the change of media, Marble boldly grasps the influence of Hollywood movies from the comic centered development system, and moves from the cartoon market to the movie market. Especially, the trans-media storytelling strategy was well reflected in the movie "Avengers" series, which Marvel produced after the merger with Disney. In this paper, When Marble Comics compares with the time when the comic book industry developed before the merger and the time when the movie industry was focused after the merger with Disney What kind of change and development, and The purpose of this study is to investigate the causes of these changes.

• The Journal of the Korea Contents Association
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• v.11 no.2
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• pp.238-250
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• 2011

In 2006, the number of days of the screen quota (theatrical movie screening days of Korean produced films in a year required by the law) was reduced to 73 days from 146 days per year. Three years after the reduction of screen quota, this paper studies the impact of reduction of screen quota system on Korean produced films. Using Non-parametric statistics, Gini Index and Regression analysis, this study shows that the average number of Korean moviegoer of Korean films which was released last three years(2007-2009) after the cutback of screen quota in 2006 is reduced to 640,109.9123 from 1,107,217.82 for three years(2003-2005) before the cutback. And this is significant in statistics. while Hollywood film gets 76,168,518 more audiences than the total number of audience for 2003-2005, the total numbers of Korean films is cut to 218,917,590 (2007-2009) from 245,802,356 (2003-2005). Gini Index of 2009(0.84) indicates that the inequality of a distribution of box office performance of Korean films is getting worse after the cutback. For now, the reduction of screen quota has negative effects for Korean films. Only the technological advance, education of relates personnel, redesigning of the related infrastructure, market-driven movies, creative production, and the promotion of the independent films can reduced the negative effects.