• The Journal of the Korea Contents Association
• /
• v.21 no.2
• /
• pp.528-537
• /
• 2021

This thesis aims to analyze the possibility of the self-representation style of Korean post-documentaries in the 2000s and analyze the possibilities of the visual writing. First of all, this study examined the theoretical background of the documentary, and derived the theoretical concepts from the poetic style and the performance style presented by Bill Nichols, and divided the strategies of self-representation in the post documentary into three categories. The three strategies of self-representation were to discuss the possibility of self-representation through the analysis of works through self-representation as self-emotion, self-representation as body, and self-visual representation. In the process of this discussion, I will examine how self-representation style deconstructs the existing visual system consisting of the system of the power and functions as a alternative visual writing that can appear various women and minorities.

• Journal of the Korean Society of Costume
• /
• v.61 no.1
• /
• pp.1-19
• /
• 2011

The purpose of this study is to pursue the way of human body expression for prospecting of future fashion illustration through research of the methods and meaning expressed in the works of 30 years by Antonio Lopez. The research was conducted by looking into the perception of the body between 1960s and 1980s, when Lopez worked actively, on the basis of the discourse, art and fashion for the femininity and studying the representation method and meaning of the body in his works. Lopez suggested an index of the ideal beauty of the times through the representation of the immature body like a child in the 60s, the glamorous body in the 70s and the exaggerated muscular body in the 80s by predicting the changes of the perception of femininity and ideal beauty. As the result of this research, it is found that Lopez employed the art form for the representation of the body in his works and presented the polysemous implications of the art form in the context of the body expression. In addition, he redefined sexuality by focusing on the code that confronted the conventional women's morals by changing the representation method of the women's pose, and depicted the other's image such as the colored races, departing from the ideal human body based on the white women. Lastly, he deconstructed the human body in various ways, thereby enlarging the concept of the human body in the existing fashion illustration.

• KSII Transactions on Internet and Information Systems (TIIS)
• /
• v.10 no.6
• /
• pp.2709-2729
• /
• 2016

Representation based classification, kernel method and sparse representation have received much attention in the field of face recognition. In this paper, we proposed an improved kernel principal component analysis method based on sparse representation to improve the accuracy and robustness for face recognition. First, the distances between the test sample and all training samples in kernel space are estimated based on collaborative representation. Second, S training samples with the smallest distances are selected, and Kernel Principal Component Analysis (KPCA) is used to extract the features that are exploited for classification. The proposed method implements the sparse representation under ℓ₂ regularization and performs feature extraction twice to improve the robustness. Also, we investigate the relationship between the accuracy and the sparseness coefficient, the relationship between the accuracy and the dimensionality respectively. The comparative experiments are conducted on the ORL, the GT and the UMIST face database. The experimental results show that the proposed method is more effective and robust than several state-of-the-art methods including Sparse Representation based Classification (SRC), Collaborative Representation based Classification (CRC), KCRC and Two Phase Test samples Sparse Representation (TPTSR).

• Journal of the Korean Society of Clothing and Textiles
• /
• v.33 no.2
• /
• pp.200-212
• /
• 2009

Since the late of 20C, contemporary fashion have becoming enlargement between role and function of fashion through the combination and the deconstruction among various different spheres. Because multi-functional and trans-formal fashion transforms and extends original space and role toward any other fields through the morphologic and structural combination, this has been freed form the representational function pursuing more simple morphologic imitation, and becomes to change the space that is able to 'becoming' of Jill Deleuze. This paper intends to make a comparative study between the representation phenomenon about simple morphologic imitation of existing fashion design, and the becoming phenomenon of fashion focused on the change toward any other different object. This studies' conclusion as follows. 1) First representation imitates a lot of nature forms that are able to be restored any fixed form and picture. 2) Second representation is the representation of representation that re-imitates imitated object and art work. 3) Ontalogical becoming is classified with depaysement, self-presentation of fashion, morphing, and becoming the nature as a element.

• Korean Journal of Child Studies
• /
• v.28 no.4
• /
• pp.187-196
• /
• 2007

This study evaluated attachment representation of school aged children, its relation to classification of family drawings, and their association with children's perceptions about families. The attachment representation of 43 children 6-9 years of age was evaluated by the Manchester Attachment Story Task (Green, Stanley, & Goldwyn, 2003) children's family drawings were classified by Fury's Family Drawing Scales (1996). Results showed that 12 children (28%) were avoidant, 23 (54%) secure, 4 (9%) resistant, and 4 (9%) were disorganized. Classification of childhood attachment representation showed a high concordance rate (86%) with family drawings. Securely Attached children showed positive perceptions such as family pride/happiness and vitality/creativity while Insecure children showed negative perceptions like emotional distance, tension and bizarreness.

• The International Journal of Costume Culture
• /
• v.5 no.1
• /
• pp.1-13
• /
• 2002

The purpose of this study is to illuminate the relations between Pop Art and pop music, which formed a serious coupling loop in an identical cultural background. Also this study intends to set up a position of visualized sexual identity as it Points out the conceptional characteristics of glam, a subculture outside mainstream, which includes the matters of sexual minorities such as homosexuality and bisexuality under the influence of the aesthetic and philosophical composition by Andy Warhol. In conjunction herewith, we explore the visual representation of glam style focusing on the influence of Warhol. The classification and explanation about the visual representation of glam style under the influence of Warhol are practised by distinguishing as denotative representation and connotative representation. For the denotative representation shown in the glum style, first, the discordant images were put together by bricolage, then adapted into the new dramatic symbol of youth. Second, through a visually androgynous style a subversion of sex for symbols of sexuality and gender was represented. Third, the factitiveness as a weird display and fallacy is shown from boisterous make-up and unisex sかling in theatricality and put-ons, featuring artificiality, assemblage and unnaturality. And the connaotative representation shown in glum inglam style, first, glam style implies its experimental nature which attempts to break down boundaries between masculinity and femininity, homosexuality and heterosex-uality. Second, the bricolage in sequin and other discordant elements have connotative meanings as sensuality and excessiveness. Third, mixing various style as sexual play shows ironic visual images, in accordance with Superior Theory and Discord Theory.

• Korean Journal of Computational Design and Engineering
• /
• v.9 no.4
• /
• pp.294-305
• /
• 2004

Highly detailed geometric models are rapidly becoming commonplace in computer graphics and other applications. These complex models, which is often represented as complex1 triangle meshes, mainly suffer from the vast memory requirement for real-time manipulation of arbitrary geometric shapes without loss of data. Various techniques have been devised to challenge these problems in views of geometric processing, not a representation scheme. This paper proposes the new mesh structure for the compact representation and the efficient handling of the highly complex models. To verify the compactness and the efficiency, the memory requirement of our representation is first investigated and compared with other existing representations. And then we analyze the time complexity of our data structure by the most critical operation, that is, the enumeration of the so-called one-ring neighborhood of a vertex. Finally, we evaluate some elementary modeling functions such as mesh smoothing, simplification, and subdivision, which is to demonstrate the effectiveness and robustness of our mesh structure in the context of the geometric modeling and processing.

• Korean Journal of Child Studies
• /
• v.26 no.6
• /
• pp.247-266
• /
• 2005

Subjects of this study were 621 children selected from 5th and 6th grades of elementary schools in Pusan. Factors associated with parents and peers varied by type of peer maladjustment(aggressive type and withdrawn type, compared with a control group). Particularly, the level of factors associated with peers varied from the control group by peer maladjusted types(aggressive types and, withdrawn types). Causal relationships of parents' rejection, victimization, negative representation by parents and by peers on child？s maladjustment varied by behavior types. Negative representation of peers had a direct effect only on withdrawal. On the other hand, negative representation of peers had no effect on aggression. Victimization had a first total effect on both withdrawal and aggression.

• International journal of advanced smart convergence
• /
• v.13 no.2
• /
• pp.172-186
• /
• 2024

With the globalization of the film industry, ethnic minority films have been developed and studied by many scholars for their special ethnic representation. The film "Tharlo" directed by Pema Tseden carefully explores the identity anxiety of a Tibetan shepherd. Through the connection and separation between the protagonist and traditional culture, it shows a complexity of modern ethnic identity for minority people. This study explores what kind of cinematic techniques and symbolic elements the director uses to shape ordinary characters, build a narrative space, and show ethnic representation. This paper puts forward a theoretical framework combining cinematic quantitative methods with qualitative narrative and semiotic analysis, aiming to deepen our understanding of cinematic techniques and ethnic representation, and provides a new perspective and profound insights for discussing the complexity faced by ethnic minorities in contemporary films. This study finds that Tseden's "Tharlo" successfully portrays the complex transformation of Tibetan cultural identity in the context of globalization and modernization through cinematic techniques such as fixed camera positions, long take and black-and-white cinematography, combined with the use of symbolic elements like mirrors, lambs and identity cards.

• Journal of Science of Art and Design
• /
• v.4
• /
• pp.67-90
• /
• 2002

What is the semantic function of visual image in Contemporary art? This article proposes that representation is semantically still important in post-modernism as well as in modernism. The semantic function of representation has been changed by keeping pace with times. In modernism the 'outer representation' changed to 'inner representation', and in postmodernism the 'inner representation' changed to 'metaphorical representation'. The 'outer representation' means that image indicates a certain object or subject as the classical realism. In this case, the meaning of image is subordinate to an object, and a one-to-one correspond existed between the image and the object. Because this 'outer representation' is focused on an object but subject's intention, the indicative function of meaning is definite and singular. The 'inner representation' means that image exposes the fundamentals or process of an object. In this case, the meaning of image resolves itself into an absolute fundamental, and one-to-many correspond existed between the image and the object. Because this 'inner representation' is focused on essence and substance but an external form, the indicative function of meaning is inclusive and general. The 'metaphorical representation' means that image critically relates social constraint and condition as metaphor and allegory. In this case, the meaning of image is not subordinate to an object and a subject, and the image and the object indicate interactively. Because this 'metaphorical representation' is focused on interaction between subject, object, and interpreter, the indicative function of meaning is differant and ecological. This article focused on the representation because I believe that continuous thinking of totality can be opened by cognitive mapping, even though we never understand the world totally in the chaotic post modern age.