• 패션비즈니스
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• 제16권5호
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• pp.88-105
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• 2012

The purpose of this study is to examine the influence of popular culture in fashion politics phenomenon of leader. As study methods the literature study concerning fashion phenomenon and nature of popular culture were used for theoretical background and visual data from magazine, news paper, and internet were used for exploratory study. The results of this study are as follows. First, fashion politics phenomenon of leader in fashion merchandising through the marketing strategy is characterized as commercial profit. These characteristics enable the fashion industry and popular culture affect the formation to provide opportunity. Second, the fashion politics phenomenon of leader projected through mass media are the fashion icons and strong role models that are copied by consumers, conformity the popular, set a powerful fashion trend. The conformity by the mechanism of the interaction of the public will contribute to the formation of popular culture. Third, Semotics symbolism expressed in the fashion politics phenomenon of the leader, the intended message is communicated to the public by creating a positive image. Positive image of the leader of the public support and acceptance is the power to create.

• 복식문화연구
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• 제19권2호
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• pp.416-429
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• 2011

Most of precedent studies related to hip hop culture and fashion, which have been conducted till now were progressed under only theoretical background of hiphop, not the changed status of hiphop currently. Practical studies explaining the status of hip hop in popular culture, especially, the area of popular fashion are insufficient. Therefore, this study was conducted by focusing on cultural characteristics and musical characteristics by the stream of period, for which concept hip hop is accepted to people currently and which effect it makes on the area of fashion. Especially, the study was progressed by dividing periodical background into before and after the 2000s because there was the most noticeable change for the genre of hip hop in that period. Because of the appearance of 'Alternative hip hop' which is a sub-genre of hip hop music, hip hop music was changed to be more popular. Also, hip hop fashion also showed big changes. Hip hop fashion before 2000s had showed poor conditions, resistance, complex and alienation of them by their fashion. On the other hand, hip hop fashion after 2000s also showed popular characteristics because of high-level environment and social status. This study intended to understand and grasp hip hop as a kind of cultural situation coexisted by many-sided characteristics as well as redefine the changed concept and contents of new hip hop currently.

• 패션비즈니스
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• 제6권1호
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• pp.83-101
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• 2002

The purpose of this study is to observe the elements of Japanese popular culture portrayed in Korean new generation fashion at the current point of time, when Japanese popular culture is first being opened to Korea. And the another purpose is to look into the fashion consciousness of them, which is made up of these aspects. The new generation plays the leading role in further excelling the culture of our society. They are the generation of sense and sensibility, the generation of "me", the generation of information, and the generation of individuality. Even before Japanese popular culture was officially opened, the new generation was already accepting fashion, comics and animation, video games, music, broadcasting, food, etc. The Japanese cultural elements that show most in Korean fashion are street fashion and the fashion of celebrities. These are mostly brought in by fashion magazines, the internet, satellite TV, the new media of cable TV, and street shops. The aspects of Japanese popular culture in Korean new generation fashion are many and varied. Such examples in fashion are : vintage style, school-girl style, sexy causal style, black coordination, soft avant-garde style. It can be said that the fashion consciousness of Korean new generation could be placed in the following order. First, the variety of fashion. Next, the internationalism of fashion. Third, the information of fashion, and last, the play value of fashion. Interest has peaked in Japanese culture after the official opening, and this study has explored the very same aspects which can be seen in Korean new generation fashion. This study was meant to help make a responsible and sturdy new generation fashion culture which can help face the new millennium.

• 수완나부미
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• 제13권1호
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• pp.89-110
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• 2021

The Ramayana is a very popular epic in Southeast Asia. It is the story of King Rama who must save his kidnapped wife, Sita. After Sita was abducted by the Demon King Ravana (Tosakanth) and taken to Lanka, Rama and his brother rescued her with the help of the monkey warriors, especially with the help of the Monkey King Hanuman. Along the way, the epic teaches Hindu life lessons. Today The Ramayana is told and retold through literature, theatre, orally, in movies, and is referenced in many other forms of popular culture. Nowadays, in Thailand, Ravana and Hanuman deconstruct the role of divine and become folk deities that also find their places in calendar art, advertising and stamps, etc. And in Vietnam, Ravana and Hanuman have become the two figures that can't be absent from Southern Vietnam Khmer ceremonies. In this article, our aim is to show how Ravana and Hanuman became symbols of popular culture (case studies in Thailand and Vietnam). The data provided in this article is drawn from field surveys with reliable reference resources.

• 수완나부미
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• 제16권1호
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• pp.81-101
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• 2024

This paper examines the complexities and creative opportunities brought about by the transnational circulation of texts specifically in the areas of transmission, consumption, and adaptation. The circulation of texts and along with it creative elements such as generic forms, tropes, and frameworks for consumption form an integral part in the production and advancement of any form of popular culture. In the process of such circulation, adaptation becomes a form of social and political process necessary for domestic palatability. In this paper, I examine how these complexities can be illustrated in the circulation of one emerging popular form in East and Southeast Asia: Boys Love (BL) television and web series. Using the transnational movement of the BL genre from South Korea, Thailand, and the Philippines, I examine how the circulation and adaptations are inflected by considerations related to regional geopolitics and domestic issues concerned with the creative praxis of representing gender and sexuality.

• 비교문화연구
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• 제20권
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• pp.241-274
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• 2010

Due to the remarkable changes in the early twentieth century, the new invention and technology impacted peoples' everyday lives and people started to use the word, modern, to apply specifically to what pertained to present times and to designate a movement in what was new and not old-fashioned-a condition of newness. In the present day, however, the fantastic cultural changes of a century ago have now become commonplace, and what was once considered radically new is no longer a reason to marvel. This paper considers what it mean to be modern, once the new is no longer new. This question seems to remain as complicated and inappropriate to ponder because the consideration and impact of modernity cannot simply end with the end of an era. This paper investigates how the interconnected nature of popular culture provides apt illustrations to reveal the ambivalent nature of modernity and postmodernity. In doing so, first of all, this paper pays attentions to the notion of modernity and popular culture which emerged together in the early twentieth century when technology and mass consumer culture were promoted over the world. Also, it examines how popular culture represents a complex of mutually-interdependent perspectives and values that influence society and its institutions in various ways as the image of modernity continues to build in a postmodern era. That is, popular culture is identified as a large amount of intertextuality or collective experiences due to its intermingling of complementary distribution sources and techonology. Thus, this paper explores that popular culture devotes itself other images or narratives instead of referring to the real world and its output revisits the contemporary or past times in other places, being a means to produce and reproduce the accumulated images of the modern which shapes ceaseless simulacra of modernity over complexities of modernity. In order to find a critical juncture of the complex networks of modernity and popular culture, this paper considers two places, Chicago and Gyeongsung in the 1920s and 1930s in which the rapid modern experience took place and the modern movement forced the two societies to join the mass consumer culture whether willingly or not. Next, this paper considers two movies released in 2002 and 2008 that exemplify the complexities of modernity in Chicago and Gyeongung of the 1920s and 30s: Chicago and Modern Boy. Both films have common themes of the 1920s and 30s such as violence, adultery, femme fatal, and criminal themes with the forms of musical, dance, drama, and romance. Through the textual analysis of both Chicago and Modern Boy, two films are compared in observing the similar and different ways in which two films deal with the theme of modernity when they are represented from the contemporary perspectives. More specifically, this paper questions how modernity is present in contemporary cultural forms such as commercial and hybrid genre films; and how these movies create a new image of modern by embodying the double coding. Ultimately, this paper aims at realizing the paradox of double edged modernity and its ongoing discourse that controls people's consciousness through the medium of popular culture.

• International Journal of Contents
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• 제10권3호
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• pp.47-54
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• 2014

Although the Korean Wave originated in China, its presence in this country had been faltering for some time. Recently, however, Korean Wave star centered K-drama via online video websites, Korean Wave TV programs with high ratings, and idol group centered K-pop with glocalization strategies are all popular in China once again. The purpose of this paper is to explore Chinese teens and twenty year olds as the main consumers of Korean popular culture and the how preferred genres, motives, and behaviors of Korean pop culture use and Korean image affect one another. According to the study results, media use via online video service was most common, and among the preferred genres, K-drama has the highest usage rates. In addition, it was discovered that motives and behaviors associated with the use of Korean pop culture had a considerable influence on a positive Korean image.

• 복식문화연구
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• 제4권1호
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• pp.43-56
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• 1996

The purpose of this study is analyzation of the clothing symbolism on the words of a popular music. The result shows that clothing symbolism on the popular music has a strong relationship with the periodic background. And also that represented the importance of the clothing as a symbol.

• 한국콘텐츠학회논문지
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• 제8권12호
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• pp.396-403
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• 2008

최근 들어 영상과 음악을 중심으로 한 대중문화 콘텐츠와 관련이 있는 관광지가 관심을 끌고 있다. 지방자치단체에서는 드라마나 영화 촬영을 위한 세트장 건립을 활발하게 추진하고 있고, 관광자들은 대중문화 콘텐츠를 통한 관광지에 대한 관심을 직접 방문을 통해 체험하고자 한다. 관광지는 관광자들의 체험과 관광지가 제공하는 체험 요소들이 모여 형성된 공동의 의미체계이다. 본 논문에서는 관광 스토리텔링에 관한 개념화를 시도함과 동시에 대중문화 콘텐츠를 활용한 관광지 스토리텔링 활성화 방안을 모색하고자 한다.

• 한국콘텐츠학회논문지
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• 제8권6호
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• pp.140-150
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• 2008

본 연구는 한류의 경제적 파급효과 관점에서 중국 대학생들의 한국 대중음악 만족도가 한국 문화상품 구매의도에 미치는 영향을 살펴보고 있다. 여기서 한국 문화상품이란 한국 대중음악과 직접 관련이 없는 한국 관광, 한국어, 한국 태권도를 의미한다. 결과에는 한국 대중음악에 대한 전반적 만족도가 한국 대중음악 선호도에 긍정적인 영향을 미치는 것으로 나타났으며, 한국 대중음악 선호도는 한류 호감도, 한국 호감도, 한국 문화상품 구매의도에 각각 긍정적인 영향을 미치는 것으로 나타났다. 또한 한류 호감도는 한국 호감도의 매개를 거쳐 한국 문화상품 구매의도에 긍정적인 영향을 미치는 것으로 나타났다. 그러나 한류 호감도가 한국 문화상품 구매의도에 미치는 직접 영향은 한계적으로만 유의하게 나타났다.