• Journal of the Korean Society of Clothing and Textiles
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• v.39 no.2
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• pp.204-216
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• 2015

Fashion is changing and evolving everyday with an influence from and over contemporary socio-cultural factors. Cartoons expressing the phenomena of times through exchanges of mutual effects with socio-cultural factors that result from functionality and media characteristics. This study examines how fashion provides a great correlation with society-culture expressed in cartoons. The research segment of this study was conducted with literature and case studies; in addition, the UK cartoon magazine "Punch" was selected for the case study. The research findings of the fashion satire expression in cartoon were divided into 2 cases. The first case is that fashion was used as an instrument to satirize socio-cultural phenomena in cartoons. Various fashion elements (hats, dresses, words on T-shirts) were used for satiric expressions and to express periodic images related to politics, economics, society and culture. It communicated factually or criticized noteworthy phenomenon or age changes through the symbolism of fashion. The second case is that fashion itself is the object of satire in a cartoon. It satirically described the blind following and destruction of stereotype as direct objects. Fashion satire appeared in cartoons regardless of a correlation with age. Each cartoon fashion satire had meaning in both humor and criticism for satirizing the age. This study shows that fashion symbolism for satire of the reality has been used as the instrument of expression and simultaneously expressed as the object of the critique as an image and phenomenon that reflects reality. This study has significance in that it examined expressive modes of fashion satire in cartoons that escape from separating fashion from cartoon as a different area.

• The Journal of the Korea Contents Association
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• v.16 no.12
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• pp.27-34
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• 2016

The application of computer graphics, which is characterized by reality, has even reinforced reality of image and motion expression in digital animation. But reality of digital animation succeeds to traditional aesthetic characteristics of animation for overcoming physical limitations of the real world and realizing imagination through transformation, rather than copying actuality as it is. But it does not succeed to drawing animation wholly. Digital animation adds cartoonish transformation, based on three-dimensional realistic expression and those animation situations look as if they get over realistic restrictions, while drawing animation constantly reminds of mediality in drawing motion, based on two-dimensional plane and handwork. n other words, cartoonish exaggeration that is intermittently inserted between these reinforced realities, expresses digital animation's own aesthetic characteristics as a dialectical sum by crashing into contrast coming from a cross between reality and imagination.

• Archives of design research
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• no.16
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• pp.185-196
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• 1996

The series of ‘Dubonnet’poster is one of the masterpieces of Cassandre who was the leader of advertising poster in 1920's and 1930's. Orihinally it was a triptych, but it was developed as a serial work later through lettering and seasonal advertising posters. It was kept in circulation for more than two decades and issued in a variety of formats. In this thesis I tried to figure out the artistic character and uniqueness of Cassandre's poster by analyzing it with many different points of view of the poster, the stream of changing style and influence from the Avant-garde painting. In chapterII, objectively analyzing the series of‘Dubonnet’one by one, I examined the method that Cassandre used to deliver the concept of advertising and his message. The triptych, the first one of series of Dubonnet poster is witty, the slogan is a pun using the words dubo(doubt), bon(good), and Dubonnet, and the theme is treated as an animated sequence in the manner of a comic strip. In the following winter and summer seasonal advertising posters, the‘Dubonnet man’in the same position is enjoying the‘Dubonnet’, irrespective of the hazards of climate and season, There was a change towards 1929 that rectilinear design gave place to supple and undulating lines in Cassandre's posters. Seasonal advertising posters also showed the change, and the tendency of realistic and concrete elements of an expression was strengthened. In chapterIII, I studied three as main characters of Cassandre's poster. The first one is simple and geometric expression, second one is uniqueness of figures and the last one is important roll of lettering. Cassandre believed that there were fundamental differences between the function of a poster and that of a painting. He also recognized that the symbol was the essential element in the poster design, which would be simply and swiftly recognized. The recognition led him to simple design and bold geometric abstraction. He was a man who knew the value of copy in advertising and developed it fully in his simplified geometric compositions by integrating of letterforms and image. The‘Dubonnet man’is geometrized, almost featureless. This approach of rendering human beings was one that Cassandre had used from the early years, most notably in his posters for Dubonnet.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.17 no.5
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• pp.137-145
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• 2016

We are accustomed to using the word 'beautiful' when we see something, but we don't use the word 'sublime' very often. In fact, these two words have totally different meanings and we can say 'sublime' only for special objects. The notions and objects of sublime have been studied by numerous philosophers ranging from Longinus to Burke and Kant. According to their studies, we can feel sublimity from objects which give us fear, because the sublime is inherent in fear. Therefore, in this study, we considered the sublime in the gothic novel, A Rose for Emily, in which we can find solemn sublimity in Emily's iron gray hair, her black suit, and a red rose which stands for blood. In addition, we can feel sublimity in the image of Emily who is waiting for Homer and the image of Homer's dead body. These kinds of images instill us with fear, but also show us tragic sublimity. The sublime exists in all kinds of literature and, therefore, more studies and analyses of the sublime in literature will likely be conducted.

• Trans-
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• v.2
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• pp.191-210
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• 2017

The purpose of this study is verifying whether convergence does its role as a transfer medium in dance expression or not, finding the effect of convergence characteristics and confirming whether it would bring change and new creation in performance art or not. This study suggests that studies on convergence in dance are required in accordance with the trend of time. This study believes that convergence is a modern art expression method, which can maximize the artistic expression in dance work and it will play an important role in the advance of dance works. There are ongoing studies on convergence art genre by many creators; however, still academic study this matter is not sufficient. Therefore, it is believed that more studies on convergence genre from the viewpoint of human studies are required. Accordingly, this study took Blush, the dance art works of Wim Vandekeybus, as the subject of study because convergence is clearly visible in these works. It is possible to draw convergence from these works because the works attempt new creation and utilize image by accommodating other genre art in dance art. The convergence in these works maximizes the originality of choreography and expands the time and space of stage through various effects. In other words, it is possible to see that Wim Vandekeybus is doing new attempts in his dance works by experimental elements, which escaped from simple movement, and convergence appears in the works.

• Journal of the Korean Society of Costume
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• v.64 no.2
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• pp.113-125
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• 2014

Creative thinking requires an ability to draw ideas on the given topic in a given time period with concentration. For this, the development process of design concept on the topic was collected through experiments and interviews targeting 10 fashion education experts and 10 clothing majors. After the analysis, the results are as follows: First of all, divergent thinking was done to find as many ideas and possibilities as possible at the step of expanding the topic by analogy. This showed characteristics of spreading thoughts through the spread of lexicon to professional field knowledge of learned, individual's cultural background, other art fields. Second, abstracted and designed words that are expanded and listed by the topic analogy were specified the topic gradually through the free combination method between lexicons. The sentences made by the combination of lexicons were interpreted through the serial listing method, in which the connection between sentences had the meaning of orderly cause and effect form, and the parallel listing method that treated information at once. Third, the few characteristics of the procedure that visualizing into the specific design are as follows. Firstly, the method to transform image that lexicon has into the one appropriate to the topic, the case that reflects external characteristics of selected designed word, and the case which reflects as the extrinsic expression of personal immanent and tactic desires. This study has its means to propose methods and directions to help create more creative and systematic ideas by analyzing the characteristics that appeared during the process of thinking language-oriented design.

• The Journal of the Korea Contents Association
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• v.9 no.12
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• pp.121-129
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• 2009

This research tries to interpret Montage der Assoziation shown in animations. Eisenstein's 'Montage' is "Montage der Assoziation" where a variety of Montage pieces are combined, symbolizing one aggregate image. Though influenced by Russian Formalist Film Theory and Kuleshov, Pudivkin and Rudolf Amheim, by contraries, he recognized Montage as an issue between an artist and the audience and an anti-representation apparatus. Especially, he developed the mind action issue previously advocated by Eikhenbaum and deemed the audience's role an essential part in completing a film. Montage expression implied in Eisenstein's theory can be regarded as attraction, collision, and dynamic and intellectual Montage. However, with an in-depth approach, Montage der Assoziation can be interpreted by repetitive, relative and juxtaposed analysis. The reason is that animation Montage is a visual action which takes place in a row among scenes and in the frame. This research addresses communications with the audience which are attained by Montage der Assoziation. In other words, this research makes an in-depth access to how Montage der Assoziation appears and communicates with the audience in an animation work.

• Archives of design research
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• v.19 no.2 s.64
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• pp.81-90
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• 2006

Pedestrians perceive differently from the sideway views or the exteriors of the buildings on the way to their destinations. Therefore, the navigation experience can become much different when the path was chosen based on the individual's preference from it is not. By focusing on the effects of the individual pedestrian' path choice on their navigation, this paper presents an algorithm designed for pedestrians to be able to explore their preferred path and proposes a prototype of navigation system based on the algorithm. The navigation support system searches for the best path upon their individual preferences and information of the destination. The system provides the process of retrieving the final path via the pedestrian-support system interaction. The path retrieval is peformed with the combinational matrix of keywords that are formulates Fuzzy theory from the correlations between the terms describing preferences used in the path preference survey. This paper presents the potentials of the path finding method tailored to pedestrians' preferences by a simulation of the proposed path retrieval algorithm.

• Cross-Cultural Studies
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• v.23
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• pp.243-264
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• 2011

The results of 2000 Population Census explains the context of a series of incidents happening in the Latino television broadcasting market recently. That is, the rapid growth of Latino population so fast as overtaking the Black population has needed media as a means of Latino's own social interests and communication. In this context, the television broadcasting market as a marketing means of capitals targeting for the Latinos has experienced more rapid changes. In other words, there has been some changes in the Latino television broadcasting market which divided by two major networks, Univision and Telemundo. It was 1970s when Latino media started to be considered as an important framework to understand the problems of the Latinos in American society. Experiencing the human rights movement of the 1960s, the Latino communities' sense of identity realized the importance of media as an expression of themselves from the interest on the factors which directly determine the quality of their life such as the immigration, education, health, and employment. The anglo media plays a role in introducing the Latinos and forming the images of the Latinos to the non-Latinos. It can be possible to criticize that the anglo media propagates the unilateral image of the Latinos by the mainstream white society, the stereotyped images of the Latinos. The spanish media targeting for the Latinos has grown continuously, combining the inside needs of forming the identity of the Latinos and communication and outside needs of commercialism. On the other hand, the needs for the programs based on the American Latinos has been increased, along with the increase of the Latino media based on the dual languages or English. This paper reviewed the history of the Latino media briefly, and then examined the relationship between the Latinos and the media through the television broadcasting which influence the Latino's everyday life enormously.

• Cartoon and Animation Studies
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• s.41
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• pp.429-454
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• 2015

The starting point of this discussion resides in the 'eyes' of mirror in a sense of seeing the self reflected in a mirror. The meaning of mirror has been evolved over the centuries while strengthening its sense of identity by bringing up some questions for resemblance, reproduction, self-reflection and reality. A mirror has also extended its vision and provided with a range of images that the self can't have. In this regard, looking into a mirror has been a sustained focus of attention by creating another ostensible being of self-image. This shows the two sides of mirror, which reveals an ambiguous gap between substance and illusion. An excessive immersion in a reflected image in a mirror is intensified and expressed today. The eyes of mirror consisting of a complex dual structure show relations between a person who sees and a person who is seen, which draws a hazy line of demarcation between the subject and the object. This opens up the possibility of the world of chiasme, where you could face all the aspects being from the eyes of others. Furthermore, the meaning of the reflection in a mirror has formed a creative discourse as an enigmatic medium that creates a variety of 'eyes' in various forms of aesthetic expression like paintings and literature. I accordingly suggest that the 'eyes of mirror' is the ambiguous 'eyes of human being' reflected in two territories of the world. Therefore, I will present the historical development of the perspective on the mirror to take a concrete approach in which it opens up the reflective structure of resemblance through a series of examples projected onto the literary and artistic productions. This study will serve as ruminations on the fact that your life is being existent in 'chiasme' of mutual entanglement between the self and the world by investigating relations between a person who sees and a person who is seen, in other words, relations between the perceiving subject and the eyes of others reflected in a mirror.