• Title/Summary/Keyword: Right of portrait

Search Result 7, Processing Time 0.02 seconds

A Study on the Issues on the Right of Portrait for Performing Arts Archives (공연예술기록의 초상권에 관한 연구)

  • Lee, Ho-Sin
    • Journal of Korean Library and Information Science Society
    • /
    • v.44 no.1
    • /
    • pp.333-355
    • /
    • 2013
  • This paper is to examine the issues of the right of portrait and to suppose practical guideline for performing arts archives. The right of portrait protects external looks of the human beings based on the constitutional human dignity, privacy of a secret and freedom. But sometimes these rights are limited in case of the right to know of the public shall have precedence to the interests of the privacy of individuals. It is hard to regard Performing Arts as a private life in two respects: first, Performing Arts is just one of societal expressions, two, performers are conducting a given role as a performing character. Producing database with the photos and videos under the reasonable agreement from the performers and making it available as a service can be disclaimers of the right of portrait. It is hard to be acknowledged, however, as disclaimers in case of being undermined sameness in the course of using the portraits of the performers.

Interior Settings of a Chamber and a Temporary Place of Enshrinement at Yeonghuijeon and Features of the Five Peak Screens for the Hall (영희전 감실 및 이안소의 공간 구성과 오봉산병풍의 특징)

  • SON Myenghee
    • Korean Journal of Heritage: History & Science
    • /
    • v.56 no.2
    • /
    • pp.100-121
    • /
    • 2023
  • This paper examines the interior settings of a chamber and of a temporary place of enshrinement at Yeonghuijeon (永禧殿, Hall of Eternal Happiness), the representative official portrait hall in which portraits of early and late Joseon kings were enshrined. Also, it discusses the features of the Five Peak screens used therein. The physical environment of a chamber at Yeonghuijeon mainly consisted of a four-panel folding screen with a painting of Five Peaks and a large wooden platform, which was adorned with dragon and lion patterns and attached to lotus-leaf column balustrades. The Five Peak screen was installed on a large platform in the shape of ⊓, spreading across the second and third panels on the back and folding out on the first and fourth panels on the right and left sides. When a portrait was enshrined in a temporary place, a simpler and smaller platform with railings was used. A four-panel folding screen of the Five Peak painting was installed in the same way as in a chamber, but was unfolded around a smaller platform behind it. A royal portrait was displayed in each chamber, whereas a case in which a portrait was rolled up was put on the smaller platform in a temporary place. The Five Peak screens for a chamber and a temporary place were all large four-panel folding screens with two wide panels in the middle and two narrow panels on each side, and only strips of silk were mounted on the four edges of the screens without additional wide lower-side mountings. While screens for the chamber used patterned silk for mounting and white paper for backing on screen frames, screens for the temporary place used plain silk and recycled failed test papers for mounting and backing, respectively. By examining records in the literature on the Five Peak screens for Yeonghuijeon, this paper highlights two Five Peak screens, both of which lost their provenance from the hall. The structures of the two screens reflected the way they were to be installed at the hall. Furthermore, this paper assumes that a Five Peak screen, which had been unfolded on the throne in the main hall of Changdeokgung Palace after the 1960s, was produced in 1858 for the purpose of temporarily enshrining King Sunjo's portrait due to the fact that failed test papers of the 1840s were laid taut over the frame.

Study on Trends and Characteristics of Infringement the Right to Likeness by the Press (언론보도에 의한 초상권 침해 소송의 경향과 특성)

  • Dong, Seho;Kim, Sungyong;Ahn, Horim
    • The Journal of the Korea Contents Association
    • /
    • v.16 no.1
    • /
    • pp.370-381
    • /
    • 2016
  • This study was designed to examine the Trends and Characteristics of Infringement of right to likeness by the Press in Korea. We did an analysis of 81 cases of the court's rulings related to Infringement of right to likeness by the Press from 1990 to 2014. As a result, it shows that the first court's ruling of portrait rights violations by the press was made in 1990. The results showed that there were the increasing number of disputing cases over Infringement of right to likeness against Broadcasting media in the 2000s compared to monthly magazines in the 1990s, which were regarded as gonzo journalism. Since the 2000s, 71% of lawsuits regarding Infringement of right to likeness has been against the Broadcasting Media due to increasing the influence of the broadcasting and possibility of Infringement of right to likeness by visual images. Especially, the number of lawsuits on infringement of rights to likeness has increased rapidly by the Broadcasting Media. Only 23 cases(28.4%) of total 81 cases were decided in favor of the press. the press shows the low success in disputing the rights of likeness. this study shows the korean courts put more weight on the right to likeness and the breaking a balance between freedom of the press and right of person's character. However, 52.9% of the cases was decided in favor of The press against the plaintiff of public figures compared to 22% against the public. It can be difficult for public figures to win lawsuit against the press causing the Infringement of right to likeness. Judging from this fact, it seemed that the court recognized media watchdog for public figures.

The study of Right Portrait Exposure Setting in Digital Cameras;Focusing on the Cognitive Preference in Representation of Skin Tones (인물 촬영을 위한 디지털 카메라의 적정 노출 설정 연구;피부톤 재현 선호도를 중심으로)

  • Noh, Yeon-Sook;Har, Dong-Hwan
    • The Journal of the Korea Contents Association
    • /
    • v.8 no.8
    • /
    • pp.111-118
    • /
    • 2008
  • Nowadays, people get images from various media like TV, magazines, newspaper, internet. Such images directly influence people's thoughts and lives, either consciously or unconsciously. In the past, reproduction devices have been mainly used in reproducing an original scene accurately. Lately, the cognitive preference became a key value in the scene reproduction, and it was affected by the surrounding media. Recently, the most commonly used device in reproducing an original scene is the camera. The core of an image is the light, in other words, the exposure. Most digital cameras are set to adjust exposure automatically in order to reproduce a scene physically as identical as possible. However, physically right exposure does not always give images that people prefers. Numbers of tests were done to find the exposure value that makes an image cognitively more preferred. Skin tones which are highly sensitive to color and changes in density has been used in the tests. A male and a female model have been used to classify changes in cognitive preference due to gender differences.

The Facade Decoration of Julio Romano's House in Mantua: Ideas on Painting Expressed through Mercury (줄리오 로마노의 만토바 저택: 메르쿠리우스로 표현된 화가의식)

  • Lee, Hansoon
    • The Journal of Art Theory & Practice
    • /
    • no.14
    • /
    • pp.159-186
    • /
    • 2012
  • Julio Romano decorated the facade of his house in Mantua with a statue of Mercury to give expressions to his ideas on painting. Hereby the painter from Rome could show his home to the world as that of a painter. To be concrete, Mercury was the planet god to which visual artists belonged, and so was basically related to visual arts. In his role to deliver diverse features of art works Mercury could also convey concepts and emotions expressed in a picture to the viewer. The power of a painting to arouse certain emotions or move the mind of the viewer was further connected to the role of Mercury as the guide of the human soul. This function again related the Roman god to the characteristic of a portrait to present absent persons to the viewer. Above the statue of Mercury, a Lucian head of the god is seen, so that they together form the central axis of the facade. This seems to emphasize that the theme of the facade decoration was the powerful persuasive forces of eloquence. The two masks on the left could then refer to sources of eloquence, I.e. various beautiful expressions of a language and its generative process. On the other hand, the masks on the right could represent consequences of eloquence, for instance, prudence, evil effects which come about to imprudent listeners, and other influences on listeners. Finally, it would be useful to remind us of a line from On Architecture by Leon Battista Alberti. According to the humanist architect parts of a building which are seen from the outside, like a facade, should be appropriately designed, since the decoration of a house could play a significant role to enhance the fame and honor of the family and its fatherland. This theory of Alberti could have provided the foundation to the facade decoration of the Casa Pippi which proudly presented the profession of painting to the public in visual form.

  • PDF

Analysis of Image Distortion on Magnetic Resonance Diffusion Weighted Imaging

  • Cho, Ah Rang;Lee, Hae Kag;Yoo, Heung Joon;Park, Cheol-Soo
    • Journal of Magnetics
    • /
    • v.20 no.4
    • /
    • pp.381-386
    • /
    • 2015
  • The purpose of this study is to improve diagnostic efficiency of clinical study by setting up guidelines for more precise examination with a comparative analysis of signal intensity and image distortion depending on the location of X axial of object when performing magnetic resonance diffusion weighted imaging (MR DWI) examination. We arranged the self-produced phantom with a 45 mm of interval from the core of 44 regent bottles that have a 16 mm of external diameter and 55 mm of height, and were placed in 4 rows and 11 columns in an acrylic box. We also filled up water and margarine to portrait the fat. We used 3T Skyra and 18 Channel Body array coil. We also obtained the coronal image with the direction of RL (right to left) by using scan slice thinkness 3 mm, slice gap: 0mm, field of view (FOV): $450{\times}450mm^2$, repetition time (TR): 5000 ms, echo time (TE): 73/118 ms, Matrix: $126{\times}126$, slice number: 15, scan time: 9 min 45sec, number of excitations (NEX): 3, phase encoding as a diffusion-weighted imaging parameter. In order to scan, we set b-value to $0s/mm^2$, $400s/mm^2$, and $1,400s/mm^2$, and obtained T2 fat saturation image. Then we did a comparative analysis on the differences between image distortion and signal intensity depending on the location of X axial based on iso-center of patient's table. We used "Image J" as a comparative analysis programme, and used SPSS v18.0 as a statistic programme. There was not much difference between image distortion and signal intensity on fat and water from T2 fat saturation image. But, the average value depends on the location of X axial was statistically significant (p < 0.05). From DWI image, when b-value was 0 and 400, there was no significant difference up to $2^{nd}$ columns right to left from the core of patient's table, however, there was a decline in signal intensity and image distortion from the $3^{rd}$ columns and they started to decrease rapidly at the $4^{th}$ columns. When b-value was 1,400, there was not much difference between the $1^{st}$ row right to left from the core of patient's table, however, image distortion started to appear from the $2^{nd}$ columns with no change in signal intensity, the signal was getting decreased from the $3^{rd}$ columns, and both signal intensity and image distortion started to get decreased rapidly. At this moment, the reagent bottles from outside out of 11 reagent bottles were not verified from the image, and only 9 reagent bottles were verified. However, it was not possible to verify anything from the $5^{th}$ columns. But, the average value depends on the location of X axial was statistically significant. On T2 FS image, there was a significant decline in image distortion and signal intensity over 180mm from the core of patient's table. On diffusion-weighted image, there was a significant decline in image distortion and signal intensity over 90 mm, and they became unverifiable over 180 mm. Therefore, we should make an image that has a diagnostic value from examinations that are hard to locate patient's position.

A Study on the Feminism Represented in Anne Teresa De Keersmaeker's Works (페미니즘 관점으로 본 안느 테레사 드 키어스매커(Anne Teresa De Keersmaeker)의 <로사스 댄스 로사스 Rosas danst Rosas>, <에레나의 아리아 Elena's Aria> 작품 분석 연구)

  • JUNG, Soodong
    • Trans-
    • /
    • v.5
    • /
    • pp.83-111
    • /
    • 2018
  • This study aims to analyze early works of contemporary Europe female choreographer Anne Teresa de Keersmaeker, which are Rosas danst Rosas, Elena's Aria in terms of feminism. Started from 18C, feminism movements have changed the perception and conception of women. Since then, women in the work of art have been portrayed to be more powerful and independent than weakened images. The influence of feminism in this era made transition to let female artists act more outstandingly nowadays. Therefore, the study began with the need to reflect the image and role of female dancers in the artistic work with the viewpoints of feminism in the flows of social and cultural background. Works of Rosas danst Rosas represents the aspects of radical feminism. Physical suppression of female dancer reflects liberation of free will. Post-modern feminism is displayed at Rosas danst Rosas which escaped from original portrait of women and exposed new active contemporary image of woman. The Elena's Aria, Radial feminism is represented physical suppression of female dancer reflects liberation of free will. Through analysis of Anne Teresa's works with feminine sight, her works were mainly influenced by feminism occurred after 1980's. Having found other possibilities to explore her choreographic philosophy, insufficiency of domestic data about Anne Teresa was once again reckoned. The researcher hopes that by studying Anne Teresa from the feminist point of view, the various images produced by dancers will not disappear right away, rather creating a sense of unity and development without losing the meaning.

  • PDF