• The Korean Journal of Archival Studies
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• no.62
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• pp.225-258
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• 2019

Since the opening of Joseon in 1876, the photographic records of the late Joseon Dynasty and the period of the Korean Empire exist more than expected, considering the technological level and the social situations at that time. Photographs related to Korea can be distributed in various forms, such as illustrations of books printed to introduce Korea to Western society, plates of graphic journalism like newspapers or magazines, vintage prints, photo-postcards, stereo-photographs, card-type photographs, and lantern slides. There are still a great deal left in various archives of the Europe, America, Japan and Korea. According to related researchers, Korean-related photographs taken between 1863 and 1910, since Koreans were first photographed, were at least 3,000 to 4,000 cuts and the photo postcards issued was 25,000. It is said that most of them exist. This paper categorizes two ways of producing and distributing photographic records related to Korea, which were early modern times. The subjects of the photographs are clearly Korea or Koreans, but most of the producers of these photographs were Westerners and Japanese, who were imperial servants of imperialism. In the case of photography, there is a great possibility of distortion of the facts depending on the needs or perspectives of the producers. In order to correct the distortion, not only the contents of the photograph but also the intention of the producer, the production and the communication status should be grasped. This is because the problem of reading photograph records accurately and fairly in an age where there is no real experience is the cornerstone for understanding modern Korea correctly and broadly studying the Modern History of Korea.

• The Korean Journal of Archival Studies
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• no.39
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• pp.73-100
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• 2014

For a society to be constantly sustained, it needs its past memories to be made present into cultural memories. The state of oblivion resulted from the time difference of the past and the present is commonly made present into commemoration days or memorial spaces. Each has its own form of representation it reflects, but all are related to how past is remembered and how it will be formed. Records, especially the authentic records the nation secured, have an ontological feature of proof that is able to persuade the current present of the past present, and inherent in it is faith that originates from fundamental objectivity. Therefore the image of silence that such strictness of records creates realizes the detonation of specific memories through the act of visual exhibition. Hence, this paper endeavors to examine how the national records, particularly the photographical records, was utilized and how it influenced the people and the society after its organization, through analysing examples of memorial spaces.

• Journal of Korean Society of Archives and Records Management
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• v.23 no.1
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• pp.101-126
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• 2023

Photographic archives of universities are one of the most valuable types of records that establish the university's identity and provide historical evidence. Unlike text records, however, they are weak in conveying meanings. Therefore, it is difficult to support users' search and utilization unless the information of photo records is comprehensively described. In this study, for the university photo archives, we tried to structure the classification system of photo archives and develop a metadata set that reflects the category characteristics in the classification. To this end, the photo archives classification system and metadata elements of domestic and American university archives were analyzed and based on this, the model of information structure was proposed. The information structure model presented in this study can help university archives improve the data quality of their photo archives and support users with the abundant discovery of photo archives.

• Korean journal of applied entomology
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• v.44 no.1 s.138
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• pp.13-20
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• 2005

Thirty-four species of the subfamily Plusiinae were recognized from the lepidopteran expeditions to Mt. Changbai during 2000-2004. Among them, six species (Abrostola ussuriensis Dufay, Polychrysia aurata (Staudinger), P. splendida (Butler), Lamprotes mikadina (Butler), Autographa amurica (Staudinger), and A. v-minus (Oberthur)) are reported for the first time from China. Three previously reported species Antoculeora ornatissima (Walker), Autographa nigrisigna (Walker), and Syngrapha hochenwarthi (Hochenwarth) were not found in this study, Photographic images of adults of the newly known species from China and their male or female genitalia are given, with a check list of the 37 known species of the subfamily in Mt Changbai.

• The Korean Journal of Archival Studies
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• no.80
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• pp.197-232
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• 2024

This study aims to understand archival art, which is spreading in the art world, and to look at records in a new way. Archival art refers to the act of creating and exhibiting art using records as a medium of expression. Archival art is attracting attention as a method of exhibition and creation of works, forming a trend in contemporary art. Archival art was born amid changes in art creation methods resulting from the rise of conceptual art, the development of media including photography and advancements in digital technology, and the influence of Foucault and Derrida's discourse on archives. The encounter between archives and art, which originated from photographic aesthetics in the 1920s, led to archival turn in contemporary art in the 1990s, thanks to the spread of conceptual art, digital technology, and postmodernism. Archival art not only subverts traditional art creation methods, but also includes criticism and deconstruction of social systems, including modern archives. Archival art rearranges and reorganizes records according to the artist's intention, and even accepts fiction rather than fact. The essence of records in archival art is not the reproduction of the past, but the expression of present needs. The way records are utilized in archival art shakes up the concept of records in archival science, calling for a new look at records as objects with not only legal and administrative value but also aesthetic value.

• The Korean Journal of Archival Studies
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• no.74
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• pp.45-78
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• 2022

South Africa implemented apartheid from 1948 to 1994. The main content of this policy was to classify races such as whites, Indians, mixed-race people, and blacks, and to limit all social activities, including residence, personal property ownership, and economic activities, depending on the class. All races except white people were discriminated against and suppressed for having different skin colors. South African citizens resisted the government's indiscriminate violence, and public opinion criticizing them expanded beyond the local community to various parts of the world. One of the things that made this possible was photographs detailing the scene of the violence. Foreign journalists who captured popular oppression as well as photographers from South Africa were immersed in recording the lives of those who were marginalized and suffered on an individual level. If they had not been willing to inform the reality and did not actually record it as a photo, many people would not have known the horrors of the situation caused by racial discrimination. Therefore, this paper focuses on Rise and Fall of Apartheid: Photography and the Bureau of Everyday Life, which captures various aspects of apartheid and displays related records, and examines the aspects of racism committed in South Africa described in the photo. The exhibition covers the period from 1948 when apartheid began until 1995, when Nelson Mandela was elected president and the Truth and Reconciliation Commission was launched to correct the wrong view of history. Many of the photos on display were taken by Peter Magubane, Ian Berry, David Goldblatt, and Santu Mofoken, a collection of museums, art galleries and media, including various archives. The photographs on display are primarily the work of photographers. It is both a photographic work and a media that proves South Africa's past since the 1960s, but it has been mainly dealt with in the field of photography and art history rather than from a historical or archival point of view. However, the photos have characteristics as records, and the contextual information contained in them is characterized by being able to look back on history from various perspectives. Therefore, it is very important to expand in the previously studied area to examine the time from various perspectives and interpret it anew. The photographs presented in the exhibition prove and describe events and people that are not included in South Africa's official records. This is significant in that it incorporates socially marginalized people and events into historical gaps through ordinary people's memories and personal records, and is reproduced in various media to strengthen and spread the context of record production.

• Journal of Oral Medicine and Pain
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• v.31 no.1
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• pp.27-36
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• 2006

The cases of unidentified individual remains submitted to Forensic dentistry section in National Institute of Scientific Investigation, Korea were analyzed to study the application of forensic dental identification into individual identification in the period 2002-2005. The identification cases of unidentified remains were 405 out of 493, which accounted about 82% of whole cases. The incidence of submission of skeletons at least including the skull was increased from 58% in 2002 to 80% in 2005. The numbers of cases for the full examinations were 4 times more than that for age estimation in 2005. Twenty-four cases were submitted for skull to photographic superimposition and 15 out of 24 cases were examined, and the other 9 cases were examined by DNA analysis only. The submitted cases for dental comparison were 23 cases, 9 cases were positively identified, 4 cases were possible, 7 cases were excluded, and 3 cases ended up with insufficient evidences. The proportion of positive identification by dental methods was increased gradually from 9% in 2002 to 46% in 2005. Forensic dental identification has become important and useful because the availability of dental records and radiographs has been increasing. Compared to DNA analysis, forensic dental identification has several advantages such as no needs for high cost equipments and low expenses. And the interpretation of results is straightforward and speedy. These advantages are based on using primary their own dental records of the individuals rather than secondary DNA reference samples from family members. The application of the forensic dental identification to unidentified individual remains will be increased because the dental comparison can complement the limitation of DNA analysis and skull to photographic superimposition in many cases. In order to obtain positive identifications of unidentified remains, a close collaboration between the police and forensic scientists is important. The systemic approach including legislation to preserve dental records of unidentified remains and missing persons for the identification of unidentified remains should be needed.

• The Korean Journal of Archival Studies
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• no.27
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• pp.169-208
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• 2011

In this thesis, I pursued how the concept of documentary photography in Korea was formed, and how Koreans perceive the current mix of some concepts and how they are tracked that. Korean photography society, directly or indirectly, accepted the concept and format of documentary photography of the United States in which information and discussion of the history and concept by examining the process of being transferred to Korea are examined. Giroksajin(記錄寫眞) is a translation word of documentary photography which was a part of documentary movements in the United States of the 1930s, and are all based on that concept. When we order Korean documentary photography and the subject matter must be distinct, attitude toward the things should be based on the exact perceptions of this age awareness, to be able to give enough information, and finally moved forward to move the human emotion must be. When this condition is equipped with the photographers and archivists perspective is revealed clearly the social and historical records that are meaningful. Documentary photography is the subject of the photographers and archivists that want to record the important things, but what you can get in the records and the question of how to use it is also important. Korean documentary photography, not only records the things, just to have a meaningful supplement to get done the exact context of information production and led to the conclusion that the strengthening of documentation strategies.

• Journal of the Korean Society of Costume
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• v.53 no.4
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• pp.163-176
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• 2003

Waist lined Coat with Pleats excavated from Byun-su(1447-1524) Tomb in Yangpyeong were very similar in size to the costume of Haeina Temple which is the oldest YosunChollik up to now YosunChollik was popularly worn in the Yuan Dynasty of China(원) and it is presumed to be flown into Korea in that period. In China, the coat with a straight collar was called ByeonseonOh , and one with a round collar was called ByeonseonOhja in the Yuan Dynasty. The excavated relics of Haeinsa Temple are almost same as ByeonseonOh. In the Myoung Dynasty(명), the coat with a straight collar was called YoseonOhja, and one with a round collar was called Round collar YoseonOhja . The Waist lined Coat with Pleats excavated in the Byunsu Tomb is same as YoseonOhja Attendants who is low in position and doctors used to wear the coat, which was spread to diverse classes by degrees. Later, even emperors and high ranking officials used to wear it as military uniforms. It was made of silk and summer cloth. As mentioned above, 1 examined its history carefully through Chinese documents and photographic materials on relics. In addition, with the authentic records of Korea and the excavated relics of the Byun-su Tomb, 1 analyzed its components. However, the analysis was very restricted because the relics to be compared with were few.

• Journal of Korean Society of Archives and Records Management
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• v.14 no.3
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• pp.127-151
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• 2014

This study aims to share a methodology for locality reproduction by concretely explaining the theoretical model, procedure, and practice of constructing the Port of Busan Image Digital Archive, based on the photographic and postcard images of the Port of Busan, the representative place of Busan. Among the open-source record management programs, Omeka was chosen in implementing the digital archive because of its suitability for image exhibition. After establishing the principles for archive implementation in accordance with the purpose of the archive, a basic investigation was conducted for the record collection. With the consent of the individuals and institutions that possess the related records on the Port of Busan, such as the National Archives of Korea, the Busan Museum, and the City of Busan, original image artifacts were thus collected. The collected artifacts were then described using the Dublin Core metadata and categorized by time period. The Port of Busan was classified through four distinctive spatial characteristics (transportation, historic, industrial, and living spaces). A total of 11 themes for the exhibition was then suggested. The Busan-Shimonoseki Ferry Boat was chosen as an example exhibition of transportation space.