• Journal of the Korean Society of Costume
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• v.61 no.7
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• pp.110-124
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• 2011

As modern society leads to distinguished, sensuous, and diversity styles, a woman who enjoys putting on Garu makeup appeared on a popular TV talk show in winter 2010, which aroused public interest in the method of Garu makeup. However, as interest in Garu makeup and individuals who put on Garu makeup spread, some began to consider Garu makeup as the imitation of indiscreet Japanese culture or a vulgar culture. Thus the purposes of this study is to understand the characteristics of Garu makeup and its forms of expression by considering its type, origin and style. In turn, this study will provide basic data for the makeup trend and act as an aid to improve the image of Garu makeup through investigating its image and preference. To accomplish this purpose, this study reviewed relevant literatures and web resources, conducted a survey of students who study beauty art at two-year junior colleges in Seoul, and analyzed 195 answers by using SPSS 18.0. The results are as follows: It was proved that in the preliminary inspection of comprehension, 98.3% of college students majoring in beauty art had known Garu makeup, 53% understood somewhat the characteristic and concept of Garu makeup, 36.8% gave preference to Garu makeup. It was proved that in the investigation by the image of Garu makeup, as over 70% of students thought that Ogaru and Yamamba makeup were detestable, but other Garus were lovely and sexy, students perceived as a diversity of images by their own preferences and tastes, and 73% of respondents selected Onegaru as Garu makeup that they gave preference to and wanted to put on. The result of this study represents that mass consumers in the existing culture, who are college students majoring in beauty art and selected as a sample group in this study, reflect the stream of culture and trend, but also demassification, mass customization by their areas of interests and preferences and connective massification of individuals with similar interests.

• Food Quality and Culture
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• v.3 no.2
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• pp.59-63
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• 2009

As one of study efforts to develop a food product that can satisfy the taste of modern people and increase the usage of the popular local product of walnut in the region of Chunan, the current study developed a no sugar added functional walnut-sulgi. The walnut-sulgi was manufactured by adding walnut powder into typical sulgi rice cake. While manufacturing the walnut-sulgi rice cake, the health beneficial sugar alcohol ingredient of sorbitol was added instead of commonly used sugar to specialize the walnut-sulgi as a functional rice cake. As the result of such effort, a soft and moist walnut-sulgi was produced. The color of the newly developed walnut-sulgi is white and has a pleasing taste, and its consumer acceptability was higher than the sugar added walnut-sulgi by showing much soft sweetness and textural properties. Considering the facts that sorbitol has a lower glycemic index (GI) than sugar and the content of unsaturated fatty acids that are insufficient in rice cake could be increased, the newly developed sorbitol added walnut-sulgi is thought to be an appropriate functional rice cake that can attractively appeal to obesity and diabetes concerning modern people.

• International Journal of Advanced Culture Technology
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• v.11 no.2
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• pp.64-72
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• 2023

This paper discusses the technical exploration of Ang Lee's cinematic works and the unique visual beauty he presents. Ang Lee has successfully tackled various themes and genres, creating films that harmoniously blend Eastern and Western cultural sensibilities. These films are technologically innovative and show the interaction between technology and art, industry and culture. Therefore, this paper analyses the correlation between film technology and visual beauty in Ang Lee's works, and explores the discourse on how the relationship between film technology and art has changed with the development of film. Furthermore, this paper aims to provide insights into how technological innovation can enhance artistic creativity. The contribution of this study lies in the in-depth exploration of the relationship between film technology and art, with a focus on technological innovation and the visual beauty in Ang Lee's works. The research findings reveal that Ang Lee's films showcase the application of advanced technologies, captivating audiences with their unique visual aesthetics. The utilization of emerging technologies enables his films to possess not only visual impact but also convey profound emotions and themes. We conclude that technological innovation in film not only provides artists with more creative tools and expressive techniques but also, when combined with artistic sensibilities, creates captivating and visually expressive cinematic works. This discovery offers a new perspective for film production and opens up greater possibilities for collaboration between artists and technology experts.

• The Research Journal of the Costume Culture
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• v.26 no.6
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• pp.888-898
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• 2018

The purpose of this study was to review and establish the two concepts of art film and artistic expression in Prada fashion films, through a literature review of domestic and international case studies, as a form of luxury branded content, Prada fashion films are considered to artistic film genre. For the study, aesthetic expression in art films as discussed in the previous research was divided into four types. The study method was to review fashion / art films from the founding of YouTube, specially, works that used digital images from Thunder Perfect Mind, which was introduced in Prada in 2005, to Nylon Farm in 2018, stylistic features were searched by film. In addition, for this study, fashion film was analyzed based on the typology of art films. The following conclusions regarding artistic expression were drawn from this study : First, the Prada fashion films represent a transition to advanced art through a conceptual approach. Second, the causal relationships personality psychology can be cited through the disturbed and fragmented narrative lines. Third, the films help people identity Prada's aesthetics by humanizing the luxury brand. Fourth, the films are a feature of serialization.

• Proceedings of the Costume Culture Conference
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• 2006.09a
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• pp.34-35
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• 2006

• Proceedings of the Costume Culture Conference
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• 2006.09a
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• pp.93-94
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• 2006

• Proceedings of the Costume Culture Conference
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• 2006.09a
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• pp.101-102
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• 2006

• Proceedings of the Costume Culture Conference
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• 2004.10a
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• pp.57-59
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• 2004

• Proceedings of the Costume Culture Conference
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• 2005.10a
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• pp.73-75
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• 2005

• Proceedings of the Costume Culture Conference
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• 2001.10a
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• pp.86-86
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• 2001