• The Journal of Information Systems
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• v.21 no.3
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• pp.1-22
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• 2012

This study aims to investigate the effects of UCC parody content trait on user attitude and e-word of mouth. The conventional methods had two identified factors: UCC content factors - trust, usefulness, and information, and parody content factors - humor, satire, and mockery. It also analyzes the impacts gap in UCC attitude between a high-involvement user and a low-involvement user in UCC contents. In this study, our findings are broadly summarized as follows: first, both trust and information, of UCC content factors, showed a positive impact on UCC attitude; second, both humor and satire, of parody content factors, showed a positive impact on UCC attitude; third, UCC attitude showed a positive impact on e-word of mouth, and both humor and satire were highly correlated to UCC attitude in UCC involvement user groups. In conclusion, this study is expected to give useful suggestions on selecting variables for further studies on UCC parody contents.

• Journal of Digital Contents Society
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• v.18 no.7
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• pp.1333-1339
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• 2017

Parody is credited for one of the forms of artistic presentation, and the utilization has been increasing day by day. However, there is no clear regulation in legislation or case. Parody is usually made without authorization to exploit of original author, so there is a lot of controversy over its infringement of copyright. Constitutional Law guarantees the freedom of expression and that of art, but it protects the author's right as well. So it is important how settle the collision of fundamental rights. It is expected the development of a variety of discussion on parody from the views of the basic value the Constitution pursues and the improvement and development of the culture that is the purpose of Copyright Act.

• The Research Journal of the Costume Culture
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• v.8 no.1
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• pp.87-101
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• 2000

The purpose of study is explaining the Historicism as a result of compromise, historical eclecticism, between historical things and current cultural background instead of regarding it as an imitation from the past. It means that external factors in history help internal esthetic value surface out as costume. Fashion s history is more than the classified thing according to the appearance with the changes of the times. Intrinsic cultural elements should be added in creating new fashion. One of the different features between Modernism and Post-modernism. When coming to the period of Post-modernism, it connected with the historical factors to make something new by fragmenting, magnifying, or minimizing them. This is calles 'Historicism'in the world of art. It revived the past, not the past itself, in new ways : quotation, reuse, metaphor, and mixture. To represent the image, parody, pastiche, or bricolage was usually used. In post-modernism fashion, parody is a technique for imitating the past or the preceding forms with artists'own critical points of view. This technique gives us shock or surprise by using satirical, ironical or paradoxical expressions. pastiche shares the same part with parody in imitating particular or unique style, and it can be renamed empty parody, because it doesn't have any hidden motivation or satirical impulse. bricolage is a mixture of quotations from other works. It contains fragments that deepen the image. Like the techniques uttered above, the revival of history through parody, pastiche or bricolage is historical eclecticism and it is included in Historicism.

• Korean Journal of Childcare and Education
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• v.12 no.3
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• pp.99-119
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• 2016

The purpose of this study is to develop art activities using famous painting parodies in hopes of enhancing the creativity of 5-year old children. A total of 11 program activities were developed consisting of a preliminary activity (understanding the notion and ideas behind parody), introduction (view and analysis of famous paintings), development (theme selection, idea construction, and parody production), and conclusion (view and review of parody). Participants were 50 (24 in the experimental group and 26 in the comparative group) 5-year old children from a kindergarten located in G city. TTCT of Creative Thinking (TTCT: Figure A and B) was used as a research tool, and the listening abilities paintings test tool was applied to teachers of the groups. First, excluding accuracy, which is considered to be an unimportant factor in determining one's creativity, results showed positive effects on fluency, originality, abstractness, and persistence. Second, the program also showed positive effects on children's overall ability in appreciation of paintings as well as the sub factors including observation and expression, understanding painter's intention, atmosphere, materials and techniques, art elements, and attitude towards art piece.

• The Research Journal of the Costume Culture
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• v.12 no.3
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• pp.441-454
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• 2004

This article aimed at semiotically analyzing and encoding the characteristics of Pop. Artistic style of a dress in the 2000's, and understanding social and cultural meaning to characteristics revealed at modern style of a dress. As research methods, Pop. Art factors were adjusted to non-individuality, openness, eroticism, parody through precedent research comparing and considering Pop. art, and 61 photos were selected, and they were analyzed into signifier and signified. It's analysis results are as follows. Non-individualistic image revealed modern style of a dress was intensively indicated at the pattern aspect of Pop. Art style of a dress, and any remarkable characteristics were not shown at the form aspect. Non-individuality was actively and progressively expressed due to the effect of the 2000's trends to pursue of frank desire, artistic and sensual life. For open image revealed at modern style of a dress, the characteristics were intensively highlighted at the details and accessories of style of a dress, and at the details and accessories of style of a dress, and at textile and pattern aspect, and notable signifier did not turn up. Pop. Artistic eroticism in the 2000's could be seen to unconditionally expose, or commercialize sex, but fashionably and gorgeously re-interpret it, which was found that the expression to women was changed in a free and emotionally-oriented way by the influence of feminism, expansion of feministic thought and optimism on New-millenium. At parody, simple and humorous parody rather than deep intended or heavy mattered one was seen, which means the effect of the 21st culture pursuing pleasure, fun and humor appeared as an positive parody phenomenon. It is found that the Pop. Art style of a dress in the 2000s shows up as a feministic, bright, cheerful Pop. Art in that it creates exaggerated harmony mixed with decorativeness ad functionalism, and pursue for frank desire and reflects optimistic trend of New Millenium seeking for fun and humor.

• Cartoon and Animation Studies
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• s.39
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• pp.157-182
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• 2015

Mr. Folman, an Israeli director, used a highly stylized form of animation in a decidedly adult way to make his documentary about the 1982 war in Lebanon, "Waltz With Bashir," in 2008. After 5 years, he has used another distinctive approach, fusing animation with live action in his latest film, a trippy and surreal undertaking called "The Congress." He dismantled the means through parodies, the core of post-modernism art and built a new meaning to create a unique world view and unique aesthetics. In this study, parodies of the modern concept of post-modernism being used as a major strategy in the creation of art have appeared the four characteristics of post-modern parody: 1) intertextuality, 2) dissolution and fusion of genres, and 3) strengthening of irony, and 4) pastiche. This study is characteristic of post-modern parody that discusses the relevance of contemporary parody and postmodernism being developed by analyzing how they appear on the practical work. Furthermore, through analysis of "The Congress", this study discusses the post-modernist world view and the creative way of creating an experimental art with parody.

• Korean Architects
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• s.600
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• pp.140-141
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• 2019

• Journal of the Korean Society of Costume
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• v.62 no.2
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• pp.55-67
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• 2012

Based on the fact that a parody is widely used as one of main methods of creating art, this study focuses on the parodic techniques used by one of the most famous contemporary artists, Cindy Sherman. Her unique techniques, which are shown through parody, provide different aesthetical values to contemporary fashion designs. The purpose of this study is to find out whether or not contemporary fashion designs that use parodies can be presented as creative fashion designs. The study was carried out by analyzing data retrieved from various literatures, dissertations, magazines and the Internet. The period between the late 1990s and 2010 is the time when parodies were widely introduced, this study presents tables, pictures and photographs based on data collected from that period. The result of this study suggests that there are mainly four expressive techniques used to create Cindy Sherman's parodies: female viewed from a male's perspective, pornography and sexual satire, narrative and realistic reproductions, and foreignness and harmony in conflict. This study discovered that based on these four expressive techniques, contemporary fashion can produce the following four results according to their production styles, silhouettes, materials, and colors: the beauty of the retro pinup girl style, the beauty of eroticism and sexual satire, the beauty of history through reinterpretation of the past, and the beauty of compromise through conflict. As described above, this study attempts to seek how techniques of parodies give different aesthetical values whether or not they can become creative fashion design techniques by listing Cindy Sherman's unique expressive techniques in her parodies in relation to contemporary fashion designs.

• Journal of the Korean Society of Costume
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• v.66 no.4
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• pp.94-110
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• 2016

The purpose of this study is to delve into the identity of the swag style which has diversified into various forms by exploring the phenomenon, formative characteristics and the internal values of the swag style in modern fashioin. This study discusses the concept and the socio-cultural meanings of swag from the perspective of Jean Baudrillard's hyper-reality, and a form of existence. The classifies the swag fashion styles into parody, hip hop and collage-type mix-and-match. Expressive characteristics of the swag look in modern fashion are as follows. First, the swag look utilizes the parody technique. In the mid-2000s, the look parodied brand logos as a form of self-mocking and active self-derision toward cheap imitations. Second, the swag look borrows from the expressive factors of the hip-hop style. Born as a sub-culture based on music, hip-hop has become a way of life, as its nature became multi-cultural and trans-cultural while its fashion style gained popularity globally after the 1980s. Third, the swag look barrows from the pop-type collage form as it mixes-and-matches costume items based on the expressive characteristics of hip hop, and this can be seen through items being used in new, non-formative and free styles. Comic aesthetics is revealed in parodied expression, hip-hop factors and collage-style mix-and-match. Swag as a hyper-reality manifests itself in various natures: humorous nature, negative nature and deconstructive nature through reflection and re-enactment of reality, transmutation and distortion of reality, and absence of reality respectively. However, it does not have a binding nature, which is the norm for subcultures. This characteristic, in combination with it having internal lightness, strong meaning of communication, and a sharing of self-contentment, distinguishes itself from the general meanings of existing parody fashion, hip-hop fashion and collage fashion.

• Journal of Korea Game Society
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• v.16 no.2
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• pp.97-110
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• 2016

Digital game is an entertainment content as well as a cultural content so that digital game can deliver social messages to make people confront with current problems. Based on Gonzalo Frasca's expanded model theory, this study aims to analyze independent games parodying reality on the level of the narrative and the gameplay to demonstrate that digital game can be a powerful medium to represent a satire on society. Parody games describe irrational side of society as being comical and provoke players' repetitive gameplay. Therefore, players can experience serious theme through casual play in the first-person, and realize the tragic reality directly.