• Proceedings of the Korea Society of Design Studies Conference
• /
• 2005.05a
• /
• pp.178-179
• /
• 2005

• Human Ecology Research
• /
• v.52 no.4
• /
• pp.383-394
• /
• 2014

The purpose of this study is to analyze the expression types and aesthetic meanings of fashion photographs adopting parody storytelling. The expressions of parody storytelling in advertising into the following five 5 types: parody of literature, movies, TV programs, art, and social issues. Therefore, in this study, we analyzed fashion photographs adopting parody storytelling from literature, movies, TV programs, art, and social issues, in fashion magazines. The meanings of fashion photographs adopting parody storytelling are as follows: First, the photographs adopting parody storytelling create new meanings with respect to a changeable narrative by transforming the original. Second, the humor of deviation comes from fun and interest generated the play of intent transformation and reconstruction of the original. Third, the photographs adopting parody storytelling of social issues suggest current messages. There is a growing tendency toward the value and the meanings of storytelling, and the various contents that have become the motive of the parody have important meanings. In particular, the analysis of expression methods and meanings of storytelling will contribute to raising the brand image through an effective fashion photographs project strategy. A story can be used as a source of inspiration and can contribute various ideas for a fashion photo-shoot and for fashion marketing.

• Journal of Science of Art and Design
• /
• v.8
• /
• pp.45-61
• /
• 2005

The 2D animation screen is a screen work that is produced on the plane. So, it is superficial in terms of space. Therefore, we expressed via picture technique that uses the movement of camera and back-ground in order to recreate the image of realistic feeling that has multiple effect. Though all multiple-effects were expressed realistically in the early Disney animation of the United States, Japan used the expression of Follow Pan profoundly to provide the animation with economic expression of picture and the depthof screen in order to realize a new technical expression of limited animation while it was producing TV series works in 1960s. Now it is positively expressed even in the United States, too. This study tries to analyze the example that applied the long piece works of Japan which was expressed via the Follow Pan, that is, the movement of camera, to the real approach.

• Archives of design research
• /
• v.18 no.1 s.59
• /
• pp.245-252
• /
• 2005

In this paper, I am going to analyze a commercial film narrative focused on a temporal order through the theory of narrative discourse by Gerard Genette. Advertisements has a special quality or feature to be convertible into mythological hyper reality to advertise an product effectively. In this process, narrative in a commercial film has visual variations using a temporal order to show an glamorously advertisements in television. The reason that narrative in a commercial film is subject to variation with a temporal order, duration, frequency is to get some aesthetic effect for making sure people see them. Under the influence of postmodernism, image making like a pop-art became the first consideration in a commercial film with the consequence that representation as a signifier came to be more important than object as a signified. As a commercial film have more sensational image as a result of visual variation, images in a commercial film became vague so that it does not explain or express an advertising concept dearly. However, those aspects have assets that it gives the TV audience a room for interpretation in advertisements by themselves.

• The Research Journal of the Costume Culture
• /
• v.17 no.6
• /
• pp.1112-1128
• /
• 2009

The purpose of this study was to develop royal costume design with contemporary taste depending on the character of hero, Lee San, and time flow of TV historical drama and research design discrimination and creative expression. As study methods, the literature study using books and theses concerning costume, fine art, culture and history were used for theoretical background and the empirical study method manufacturing actual costume on the basis of literature and relic were used for dress manufacture. The design concept of costume was modern & chic & clean. The costume was designed through straight silhouette, clean & bright colors excluding prime colors, style transformed to permanent straight pleats on the basis of chulik, 100% silk material focusing on high quality and pattern & decoration of the age of Three Kingdoms. As results, the designs of princess' official rob, day dress and chulik, and emperor's official robe, chulik, military dress and chun-dam-bok were developed. The design discrimination depending on social status change. In the period of princess, black, white, silver and blue were used but in the period of emperor, red, gold and black were used. It was expressed through dragon pattern and extended length used in cloth. The design discrimination depending on character change was visualized through color. Although it is not consistent with historical investigation, contemporary fashion design elements were added to royal costume through color contrast of black & white, permanent straight pleats, velcore, wristlet, extended length and layered-look.

• The Journal of the Korea Contents Association
• /
• v.11 no.2
• /
• pp.303-311
• /
• 2011

For us who live in the 21 century, a variety of media and videos such as TV, movies, magazines, internet, etc. have now become indispensable entities. Because of changing age, unlimited sharing of information, and development of machines, fashion and ideas are rapidly conveyed and theres is also a tendency to seek after more sense based and stimulating things. Around us, there are innumerable colors which do not seem to have any special presence like the air and go beyond human ability to identify them. Such colors exert direct influence upon the visual culture and most rapidly reflect that age's trend. It is precisely from this perspective that the importance of neon colors, which have recently received the spotlight, have emerged in a magnified way. Yet, although much research has been conducted on colors by earlier studies, there has been no research on neon colors and as such, I felt the need for a study of neon colors. The purpose of this study is to recognize the importance and psychology of colors within the visual culture, discover whether there is a correlation between the characteristics of neon colors and the visual culture, and seek ways to demonstrate it by applying it to art education.

• The Journal of Art Theory & Practice
• /
• no.5
• /
• pp.25-41
• /
• 2007

Despite continuous efforts to redraw the boundaries between art and culture, the conventional concept of originality has persisted in approaches to the practice of contemporary art. In the discourse of originality, various forms of lesser arts that employ the method of replication have been referred to as kitsch, or "rear-guard," the opposite of avant-garde. This categorization points to the contested issue regarding the oppositional relation between modernism and mass culture. With its easily accessible content and financial affordability, mass culture has become both an irresistible attraction and a most powerful threat to modernism. This threat has instigated a discursive system that has situated mass culture as a cultural other of modernism. Taking the marginalized category of kitsch as the area of contention, this paper examines a discursive repression of kitsch. It analyzes the conceptual framework that defends originality and autonomy in art and, conversely, degrades kitsch as an inferior and dangerous cultural category. Greenberg'S concept of kitsch as a by-product of industrialization evolved into the criticism that advocates the autonomy of art. The Frankfurt School scholars, particularly Theodor Adorno and Max Horkheimer, practiced comparable cultural critiques. Focusing on mass culture such as film, radio, and television, instead of art works, they critically analyzed the system of mass culture and theorized the negative implications of the ubiquitous presence of kitsch. Some critics, on the other hand, perceived the growth of mass culture as opening possibilities in cultural development. Walter Benjamin and Harold Rosenberg asserted the socio-cultural dynamics of mass culture underlining the potential for continual transformation in reality and in the subject. They acknowledged that technological advances changed the condition of creation and enabled unmediated interactions between media. By scrutinizing conflicting views on kitsch, this paper intends to reassess arts that draw "the forces of the outside."

• Journal of Digital Convergence
• /
• v.12 no.2
• /
• pp.483-493
• /
• 2014

In a modern society where various kinds of cultures coexist, kidult culture seeking something pleasant and interesting in the adult culture has made an appearance affected by pop art. The goal of this study is to help the kidult culture carrying on the feature of pop art to promise a bright future in the consumer market and to help kidult marketing through the expansion of globalization of kidult culture goods. The first study method was to refer to the theoretical research material like theses or academic journals to analyze the feature of pop art and cultural phenomenon. The second one was to analyze media reports, TV programs, movies, and ads currently in issue about kidult cultures in news, media data, and internet materials to feel the kidult cultural phenomenon at the moment. The result of this study shows that, especially, popularity, vividness, and sense of humor and wit among the features of pop art have a great influence on the kidult culture. As a result, Firstly, We can expect a vitalization in the consumer market through qualitative and quantitative improvement of kidult consumer culture. Secondly, We should make an effort to expand kidult consumer culture by developing various kinds of culture goods for each age groups. Thirdly, Domestic companies should open up an adult consumer market with self-developed character products. Fourthly, We should make an aggressive marketing strategy for kidult culture goods in the world market in the flow of Hallyu.

• 한국HCI학회:학술대회논문집
• /
• 2009.02a
• /
• pp.583-589
• /
• 2009

The new HDTV technologies provide crystal clear images and surrounding sounds for broadcasting screen in order to serve higher quality of broadcasting. They have four times the resolution of conventional TV and handle 16:9 wide screen aspect ratio images. Due to such technological shift, the function of Character Graphic has been particularly revaluated: it used to be only a subsidiary method to literally deliver visual images, but nowadays it is considered one of the essential elements capable of giving higher values to broadcasting programs. And there is an urgent need for changing its attributes such as fonts, sizes, colors, moving speeds to fit to bigger screen ratio and much more qualified images of HDTV. To meet such a need, Delphi surveys are made twice with three groups of TV production staffs: Art Directors, CG Designers and Production & Transmission team, these groups which are divided on the basis of their roles in broadcasting production process. With the results of these surveys, this article analyzes how all of the attributes of Character Graphic have affected the media users' Visual Perception, and then, suggests a new format designed in OSMU(One Source Multi Use) by which TV character graphics can be properly transmitted to various media formats.

• Journal of Korea Multimedia Society
• /
• v.10 no.12
• /
• pp.1687-1697
• /
• 2007

Paik Nam-June is known as a Video Artist. Video is a presentation tool with the feature of recordability. However, it is not only a video which has been applied as an art presentation tool by him. Nevertheless, the existing researches fail to notice the aesthetic concept which is shown as the rest contents or forms, as they focus on the media features of Paik Nam-June's video. Therefore, this article aims at contemplating the art world of Paik Nam-June with its contents as 'visualization of music' and its form as 'hypermediacy' Therefore, 1. Sound is shown as the visualization of music, with the direct influence of absolute hollowness and noise of John Cage, originated from Zen Buddhism, while the foundation of it is known to be from the liberation of dissonance of Arnold Schoenberg and creative impromptu of shamanic sound. 2. The from of TVs influence of the orchestra, originated from Culture of a dining table in Korean. and indicated hypermediacy 3. Paik Nam-June indicated 'Text-interpretation' us to text analytics of 'how to read', rather than the question of 'what to tell' by intermedia as the visualization of music & hypermediacy.