• 한국디자인학회:학술대회논문집
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• 한국디자인학회 2003년도 봄 학술발표대회논문집
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• pp.172-173
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• 2003

• International Journal of Costume and Fashion
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• 제6권2호
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• pp.28-42
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• 2006

In present modern society, media contributes more to the constructing of personal identities than any other medium. Music video, a postmodernism branch among a variety of media, offers a complex experience of sounds combined with visual images. In particular. fashion in music video helps conveying contexts effectively and functions as a medium of immediate communication by visual effect. Considering the socio-cultural effects of music video. gender identity represented in fashion in it can be of great importance. Therefore, this study is geared to the reconsidering of gender identity represented through costumes in music video by analyzing fashions in it. Gender identity in socio-cultural category is classified as masculinity, femininity, and the third sex. By examining fashions based on the classification. this study will help to create new design concepts and to understand gender identity in fashion. The results of this study are as follows: First. masculinity in music video fashion was categorized into stereotyped masculinity, sexual masculinity. and metro sexual masculinity. Second, femininity in music video fashion was categorized into stereotyped femininity. sexual femininity, and contra sexual femininity. Third, the third sex in music video fashion was categorized into transvestism, masculinization of female, and feminization of male. This phenomenon is presented into music videos through females in male attire and males in female attire. Through this research, gender identity represented in fashion of music video was demonstrated, and the importance of the relationship between representation of identity through fashion and socio-cultural environment was reconfirmed.

• Fashion, Industry and Education
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• 제14권2호
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• pp.60-69
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• 2016

Visual literacy, a key element of a design portfolio, is achieved by communicating a consistent visual aesthetic with respect to design elements, design principles and individual style. Yet, students often feel challenged in articulating their personal aesthetic or design philosophy in order to create a unifying design identity within a body of artifacts. This paper shares some best practices on overcoming this challenge through students' engagement in self-reflection and identity formation processes. The implemented innovative strategy in a senior-level portfolio development course for apparel designers involved four different phases: 1) one-on-one meetings to self-reflect on previous design work, 2) selection and revision of artifacts, 3) peer-review and critiques of revised portfolio artifacts, and 4) development of a final ePortfolio to showcase a unified design identity. It was evident that recording students' initial self-reflection in the form of a metacognitive oral report encouraged and motivated identity development in their portfolio. Further, students expressed their satisfaction in the ability to participate in the selection process of artifacts by self-reflecting about what they wanted to highlight about themselves and why. Overall, student outcomes from this strategy exceeded expectations and the portfolios developed were successful in creating a cohesive design identity.

• 한국조경학회지
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• 제25권3호
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• pp.12-24
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• 1997

One argument of this study is that the policy to handle and landscape of cultural and historical property had to do with people's visual preferences. This study seeks to investigate people's visual preferences toward the landscape of cultural /historical property, specifically dealing with 'Namdaemun', which is the first class cultural property of Korea. People's visual preference was specifically examined into the four specific concepts : 'visual identity','harmony','beauty of the target property', and 'overall beauty'. Two objective variables, such as, 'distance' between the viewer and the cultural property, and 'height' of background buildings were considered possible predictors of the four visual preference variables. Photos of 'Namdaemun' were taken at three different directions and at three different distances. The photographed images of 'Namdaemun' were transferred ito the digitalized graphic images, where the height of background buildings was artificially changed and simulated. The simulated visual images were taken into the slides again. A total of 59 students of the Department of Landscape architecture at Seoul City University were sampled as subjects. A series of 17 slides were shown to the subjects four times. The subjects were asked to check their preference ratings concerning the four concepts on a 7-point Likert scale. The results found in this study were as follows : 1) In the results of ANOVA, it was clear that people visually preferred the view where the height of background buildings were lower than 15 floors to the view of more than 15 floors . 2) From the results of the path analysis, it was found that 'harmony','visual identity' and 'beauty of the target property' were direct predictors of 'the overall beauty'. The 'height ' of background buildings and the viewer's 'distance' were not found to be direct predictors, however, they demonstrated their effects on 'the overall beauty' through the other variable, which were direct predictors of 'the overall beauty'. In sum, the longer the distance and the higher the background buildings, the lower people's preference with the 'overall beauty'. These indirect paths, in turn, also explain why and how the 'height' of background buildings and the viewer's 'distance' negatively influence the 'overall beauty'. An implication from the these results is that when the height of background buildings were not controllable, there would be some other strategies for improving people's visual preference toward the historical /cultural view. To increase 'visual identity' of the cultural property, for example, changing colors of the cultural property or increasing the lighting level, etc., would be one strategy, since the increased 'visual identity' will, in turn, increase 'the overall beauty'.

• International journal of advanced smart convergence
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• 제13권2호
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• pp.172-186
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• 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.

• 디자인학연구
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• 제15권1호
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• pp.349-358
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• 2002

C.I.P(corporate identity program)는 기업전략에 따른 개념을 기반으로 기업의 시각적 환경을 구성하는 각종 시각매체들을 일정한 규정에 의해 규격화, 표준화시키는 프로그램이며, 이에 따라 의도적이고 능동적으로 바람직한 기업의 이미지를 형성시키는 것이다. 그러나 최근의 급격한 기업환경의 변화에 따른 기업혁신과 새로운 형태의 기업의 등장은 기존 CIP개념의 변화를 요구하고 있다. 특히 기업이미지와 관련된 각종 시각매체들은 디지털화 되고있으며, 다양하고 새로운 시각매체들이 발생함으로서 여기에 적합한 아이덴티티디자인이 요구되고 있는 것이다. 최근의 새로운 기업환경에 적합한 특성을 가진 기업형태의 하나인 프랜차이즈 기업에 기존의 CIP 개념을 적용하는 것은 여러 가지 면에서 부족하고 부적절한 요소가 많다. 이미 오래 전부터 기업의 사무환경은 컴퓨팅환경에서 수행되고 있고 일반 가정이나 소규모 업소에서도 이제는 네트워킹을 통한 디지털화된 생활이 일반화된 현실이라 할 때, 이제 기업의 아이덴티티 디자인에서도 종래 CIP가 인쇄매체에 비중을 둔 것에서 벗어나 영상매체 및 새로운 첨단 정보매체에 까지 확대 적용할 수 있는 기능을 갖춰야 할 것이다. 이러한 이유로 본 연구에서는 프랜차이즈시스템에 관련된 아이덴티티 디자인을 F.I.P(franchise Identity programs)라 구별하고 그 개념과 세부적인 내용을 연구한다.

• 복식문화연구
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• 제25권6호
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• pp.719-740
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• 2017

Sociocultural and demographic shifts have resulted in a changing perception of older age. Older women, historically subjected to age-ordering rules of dress, have increasingly refused to be marginalized fashion consumers and have been striving to construct a more positive age identity. Although studies have examined consumers' negotiation of marginalized identities, age identity has not received much attention as a type of marginalized identity. This study argues that Pinterest acts as a platform for identity work by allowing older women to creatively reconstruct their sense of self by saving images and organizing them into thematic boards. Drawing on symbolic interactionism theory and notions of digital self-presentation, this paper seeks to explore the discursive practices that older women employ on Pinterest to resist ageist fashion discourses. The sample consisted of 15 fashion-oriented Pinterest profiles of older women. Netnographic inquiry was employed first to examine what images were saved and what thematic boards were created. Three analytical frameworks for visual data analysis were integrated to further scrutinize the visual texts within the thematic boards. The analyses revealed three main themes-rejecting age, accepting age, and consuming age. The themes that emerged formed the basis for an age identity reconstruction process whereby women attempted to bridge the existing gap between older age and mainstream fashion discourse.

• 한국디자인학회:학술대회논문집
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• 한국디자인학회 2004년도 추계 학술발표대회 논문집
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• pp.114-115
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• 2004

• 디지털융복합연구
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• 제18권1호
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• pp.277-286
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• 2020

본 연구는 정릉동에 위치한 꿈나래지역아동 센터의 중학생 7명을 선정하여 지역정체성을 함양을 위한 시각 정보 디자인 수업을 진행하고 학생들의 사전 사후 설문지를 분석하여 그 효과성을 검증하고자 하였다. 첫째, 사전·사후 설문지의 결과에서 학습자들이 지역정체성 요소인 지역관심도, 지역애착도, 지역 자긍심의 평균값이 상승하였다. 둘째, 지역정체성 요소 중 지역관심도는 가장 많은 상승 폭을 보여주고 있다. 본 수업이 지역정체성 형성에 있어서 첫 번째 단계인 지역관심도 측면에서 효과성이 가장 크게 나타난 것으로 해석할 수 있다. 셋째, 학습자들은 검색을 통한 자료 수집과 경험적 지식을 바탕으로 객관적인 지역정체성과 주관적인 지역정체성 모두를 확장시켰다.

• 한국디자인학회:학술대회논문집
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• 한국디자인학회 2003년도 가을학술발표대회
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• pp.114-115
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• 2003