• 복식
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• 제55권6호
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• pp.141-158
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• 2005

This study was motivated not only by the important role of the special make-up effects in films, but also by the prominent contributions created by make-up artists. The first objective was to study of Jack Pierce, Dick Smith, Tom Savini, Rick flake., and Stan Winston's impact in the most challenging and creative field of all make-up artistry. The second objective was to examine both affinities and differences in artistic styles as well as in make-up techniques through a comparative study of special make-up effects of horror and sci-fi movies in the 20th century films produced by Hollywood studios. The sci-fi films were designed to thrill the audience through the potential of futuristic ideas by fantastic special effects of futuristic creatures such as an extra-terrestrial, a mutant, a robot and a cyborg. In contrast, the horror films were designed to frighten the audience with more reliance on horrifying special effects including a vampire, a werewolf, a zombie and a psycho killer. Their features were shown in a common thread (masquerade, otherness and surrealism) as well as a number of different themes between horror and sci-fi films (transformation vs. extension, satanism vs. monstrosity, and primitivism vs. futurism).

• 한국의류학회지
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• 제34권4호
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• pp.597-605
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• 2010

This study is about the expression types and characteristics of Trompe l'oeil in modern fashion. The study defines the concept of Trompe l'oeil, examines the Trompe l'oeil in the surrealist works from which the Trompe l'oeil derives from, and analyzes the works that have emerged since 2000. The study used a collection of magazines such as Vogue, Gap, Fashion News, and the Internet. According to the findings, the expression types of Trompe l'oeil in modern fashion were seen in the human body, the wearing style, the details, and accessory effects of clothes. The modern fashion design using the Trompe l'oeil based on such external expressions was characterized by the following: first, the fashion design destroyed the concept of common sense and expressed the purity of the human spirit by revealing the human body hidden in clothes from the combination of clothes and the human body with surrealism. Second, the details or accessories of clothes were printed or painted as if they existed. Pleasure was expressed by applying Trompe l'oeil to the wearing methods and forms of clothes through the optical illusion of materials or colors. Third, the effects of an optical illusion were displayed by transforming and distorting the wearing style and reversing the front, back, exterior and interior of clothes; this optical illusion characterized the deconstruction expressed through the transformation of ideas.

• 복식문화연구
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• 제15권1호
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• pp.68-80
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• 2007

Surrealism's method of expression and inspiration has been a continuous influence on fashion. What is important is how to identify and research a source of inspiration, and how to use this inspiration to guide the designs that can be worn on a real human body. Therefore, the purpose of this study was to show how to develop ideas and designs from Surrealist objects and how to contribute to the development of designs to the diversity in visual and functional effects along with the changes in consumer's interest. Documentary studies about Surrealism and Surrealist-inflected fashion applying the works of Surrealist and fashion images as a tool of historical research were proceeded. And the ideas for theme, the motifs for print patterns, and the concept of designs were borrowed from Surrealist objects touching on the imagery between the real and reflected, optical and artificial, and the designs were developed with several different visual and functional effects changing color, pattern, size, and length with the function of zippers in each item. It also gives the person wearing it amusement because it includes the concept of play and D.I.Y. With effective planning, it is possible to attract consumer's interest in the market.

• 패션비즈니스
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• 제9권4호
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• pp.94-112
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• 2005

This study focuss on the futurism expressed in Paco Rabanne's works. Paco Rabanne, who has created experimental and prophetic avant-garde fashion by cutting edge techniques and revolutionary new materials, is known as one of the most influential fashion designer of modern times. First, Light, one of the most important element in Paco Rabanne's fashion design, shows some influence of medieval symbols of love and salvation. Second, the artistic trends which influenced on Paco Rabanne's fashion include surrealism, op art and kinetic art. His use of new materials and avant-garde style represents the influence of surrealism. His experimental use of waving plastics and glittering metal during his early period is especially related with op art and kinetic art in the early 1960's which emphasize the artistic effect of light and movement. Third, the characters of Paco Rabanne's works are the harmony of technology and the beauty oh machine by the geometrical figures like triangles, rectangles, and circles and represent and movement,and the innovational creative methods, voluptuous beauty.

• 패션비즈니스
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• 제9권4호
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• pp.127-144
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• 2005

The aim of this study is to find out the symbol of clothing decorations in Elsa Schiaparalli's design works and there are four major points due to the aim of this study. Firstly, a fantasy is represented through Surrealistic Arts which creates mysterious, secrete, and surprising spirits. In Surrealistic Arts, the fashion of schiaparelli demonstrates a fantasy spirit by using the methods like metaphor, transformation, and re-positioning. Secondly, In Surrealistic paintings, normally double image or different image from symbol immanent were expressed. However, Elsa Schiaparelli used double and multi-image decorations instead that has well-organized formative effect. The mixture of double images can be separated as symbolic mixture, design mixture and expressive mixture. Thirdly, the body parts has represented symbolism and sensuality in Surrealism Arts. Elsa Schiaparelli has demonstrated the expression of modern clothing as passionate, desirable, and powerful. This is the reason why her designs were absolutely different from the previous sihouette-focused clothing. Fourth, there are lots of intentional decoration that are different from actual images, such as transformation, exaggeration, minimization and repettion, as well as, re-location, re-arrangement, line-up arrangement, collage and odd materials.

• 한국의류학회지
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• 제28권5호
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• pp.626-636
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• 2004

The purpose of this study was to show a theoretical system of expressional area, the characteristics and the effects which is applied to fashion illustration by metaphor theory. The theoretical system of expressional area was analyzed by category analysis and 150 fashion illustrations from 1900 to 1999 were analyzed by contents analysis. The results of this study were as follows: Metaphor in fashion illustration was categorized to replacement, parody, heterogeneous combination, surrealism, magnification and reduction of size, optical illusion, juxtaposition and distortion of form. In detail, First, replacement was showed omission of form, non-object color, texture. Second, parody was showed using the part in artistic work, differentiation of original work. Third, heterogeneous combination was showed unreal body combining between animal and plant. Fourth, surrealism was showed creation of object which is impossible to present. Fifth, magnification and reduction of size was showed bizarre magnification of part of body, size of clothing. Sixth, optical illusion was showed ambiguity of object because of creation of new form. Seventh, juxtaposition was showed the parallel of contradicting idea and change of meaning between heterogeneous objects. Eighth, the distortion of form was showed grotesque distortion of part of body and disgusting object.

• 복식문화연구
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• 제7권5호
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• pp.122-139
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• 1999

Paco Rabanne, who has created experimental and prophetic avant-garde fashion by cutting edge techniques and revolutionary new materials, is known as one of the most influential fashion designer of modern times. The purpose of this study is to analyze the various factors, including some major artistic movements, which influenced on the formative characteristics of Paco Rabanne\`s fashion design. First, Paco Rabanne\`s fantastic new materials is also influenced by his study in architecture and his own fantasies -which other people can hardly imagine- during his early childhood. Second, light one of the most important element in Paco Ranbanne\`s fashion design, shows some influence of medieval symbols of love and salvation. Third, the artistic trends which influenced on Paco Rabanne\`s fashion include surrealism, opart, and kinetic art. His use of new materials and avant -garde style represents the influence of surrealism. his experimental use of waving plastics and glittering metal during his early period is especially related with opart and kinetic art in the early 1960s which emphasize the artistic effect of light and movement. Fourth, the geometrical figures like triangles, rectangles, and circles represent the influence of Egyptian architecture like pyramids and the geometrical characteristics of Eguptian art. Fifth, Paco Rabanne\`s distinctive use of metal chains in his fashion shows the influence of the chain mail hauberk, the medieval knightly armour. By using the medieval material Paco Rabanne properly expressed the modern person\`s pain and suffering. Sixth, the ethnic elements of Egypt, Africa, Spain, and Japan reflect the experience in his former lives he insists he lived. The ethnic elements of his dresses emphasize the natural vitality and inheritance from the past.

• 한국콘텐츠학회논문지
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• 제22권8호
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• pp.227-234
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• 2022

본 연구는 초현실주의 예술의 특성을 파악하고 그 영향을 받은 안무가 윌리엄 포사이드의 대표작을 토대로 안무방법을 고찰하였다. 포사이드는 초현실주의 특성과 자신의 방법을 통해 획기적인 공연예술로 발전시켰으며, 이러한 독창적인 안무적 접근방식을 기초로 새로운 신체 이미지를 모색하고자 하였다. 이를 통하여 초현실주의 예술 특성인 형식의 파괴와 해체는 포사이드의 안무방법에서 분리된 움직임, 공간의 재구성, 특수한 오브제로 나타나는 것을 발견할 수 있었다. 따라서 본고에서는 초현실주의 특성 및 형식에 관하여 알아보고 윌리엄 포사이드 작품에서 나타나는 초현실주의적 요소를 규명하는 것을 목적으로 삼는다.

• 영어영문학
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• 제56권3호
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• pp.445-459
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• 2010

William Carlos Williams discovers important sources of inspiration in the revolutionary avant-garde movements, in particular, Dada and Surrealism and attempted to embody the innovations in them in his poetic theory and practice. Williams's passion to create an indigenous American poetic work is compatible with his Dadaist experimentation with objets trouvés. Williams pays deep attention to objets trouvés, physical objects and marginalized people he comes across and transcribes his observations with poetic words freed from their instrumental contexts. In his characteristic poems written in the 1920s and 1930s, Williams records the social ruination and his task to give voice to the conflictual and fragmentary character of modernity is pursued through the Surrealist formulation of montage. In the Surrealist formulation of montage, the dialectical image is a central trope for reading the myth of modernity; it is positioned as both subject and object in the historiographic narratives of Walter Benjamin and Williams. As Benjamin tries to obliterate all traces of the author in the Arcades Project, Williams's montage poems like Spring and All only disperse argument into materialistic, dialectical images. The dialectical image in Williams's poetics becomes an organon of historical awakening so that truth can emerge from an unmediated juxtaposition of "things."

• 만화애니메이션 연구
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• 통권33호
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• pp.1-29
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• 2013

초현실주의는 무한에 대한 동경, 무의식의 탐구 등으로 전통적인 서구 합리주의와 대립하는 미학관을 성립시켰다. 초현실주의의 주된 관심사는 정체성과 차이의 문제이며 '경이', '발작적 아름다움', '객관적 우연' 등과 같은 불가사의한 개념으로 그들만의 독특한 시도를 하였다. 이러한 그들의 독특한 미학관은 여러 가지 예술적 양식을 통해 표현 되어졌다. 그 중의 하나가 바로 초현실주의의 대표적인 표현 장치인 데페이즈망이다. 데페이즈망은 물체를 본래 있던 곳에서 '떼어내는 것'을 의미한다. 따라서 현실적 사물들을 대상으로 하여 그 본래의 용도, 기능, 의미를 현실적 공간에서 이탈, 환경을 변화시켜 그것이 놓여 질 수 없는, 또는 사물의 속성과는 관련성이 없는 낯선 장소에 조합시킴으로 초현실적인 환상을 창조해 내는 기법이다. 다시 말해 표현공간에서 사물 본래의 일상적인 질서나 배경, 분위기 등을 떼어내어, 자기장소를 떠나 존재하는 사물들이 새로이 '배치'하는 것이다. 시간과 공간을 초월하여 '재구성'된 이 사물들은 우리에게 경이와 심리적 충격을 안겨주며, 낯선 의미와 느낌을 전달하게 된다. 본 논문은 매체에 적용된 데페이즈망의 활용에 대해 고찰한 것이다. 특히 애니메이션의 적용에 논의의 초점을 둘 것이다. 애니메이션은 기타 다른 매체와는 달리 독특한 미학적 특성들을 지니고 있다. 우선 애니메이션은 분절 촬영으로 손에 의해 생성된 창조적 이미지이다. '배치'를 통해 생성된 애니메이션 이미지는 특유의 운동성으로 생명력을 얻는다. 노먼 맥라렌의 <환타지>와 해리 스미스의 <하늘과 땅의 마법>은 이러한 데페이즈망의 구조적 특성을 잘 반영한 흥미로운 작품으로, 추상적 형태와 다양한 움직임으로 이루어져, 관객에게 다양한 영화적 형식을 지각하도록 만든 작품이다. 여기서 우리는 생물과 무생물의 전위, 공간과 시간, 생성과 소멸, 반복과 변형 등 무수한 환상을 체험하게 되는데, 그 주된 장치는 애니메이션 프레임 공간의 데페이즈망을 강화한데서 기인한다고 할 수 있다. 결론적으로, 데페이즈망은 초현실주의의 대표적인 예술기법 중 하나인 동시에 애니메이션과 필연적인 연결고리를 갖는 양식이다.