• 한국콘텐츠학회논문지
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• 제18권8호
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• pp.671-678
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• 2018

B급영화는 A급영화에 대비되는 용어로 경제공황기에 탄생하였다. 할리우드는 관객유치를 위하여 A급영화와 B급영화의 동시상영을 기획했으며, A급영화는 수익창출을 위해, B급영화는 수지균형을 위해 제작되었다. B급영화는 저예산, 저기술영화임에도 불구하고 자신만의 스타일과 미학을 가지고 있었으며, 역설적으로 영화를 창의적이고 혁신적으로 만들었다. 역사적으로 B급 영화는 유럽과 미국의 전위영화와 연계되어있다. 초창기 B급영화 감독 중 주목할 만한 로버트 플로리는 전위영화의 전통과 주류영화의 관습을 결합했으며 B급영화감독이 누리는 자유를 선호하였다. 로버트 플로리는 실험영화의 성공으로 헐리우드에서 와 를 감독하게 된다. 는 호러영화 장르를 통해, 는 스릴러영화 장르를 통해 아방가르드의 독특한 스타일과 주제를 보여 주고 있다.

• 복식
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• 제57권1호
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• pp.50-65
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• 2007

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing form, my study develops a framework by which to classify the planarization of the body in Japanese avant-garde fashion. In order to inquire the formative style and aesthetic values expressed in Japanese avant-garde fashion, my study examines subjects from the discourse on the body to the fashion collections of the 20th and 21st century. The results of the study are as follows. Japanese avant-garde fashion focuses on a planarization of the body which questions the three dimensional construction of the body in more conventional clothing system. Un-structured, variable space posited between the body and clothes, participation of the wearer, attention to recent technology and material, and absence of gender identification characterizes the planarization of the body in Japanese avant-garde fashion. The absence of body in fashion stresses a will-to-form rather than mere bodily proportion and structure, which explores trans-extensity that goes beyond the boundary of the body Ultimately, planarization of the body betrays the correspondence between signifiant and signifie in sartorial convention. Aesthetic ideal of the body is visualized in the form of a dress. Some clothes prioritize the body, particularly the feminine bodily curves, while others focus on the clothing itself as abstract and sculptural forms. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in Japanese avant-garde fashion, focusing on the relationship between the clothes and body.

• 비교문화연구
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• 제29권
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• pp.133-152
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• 2012

Franciso Ayala's narrative work was published in the collection "Nova novorum" (1926-1929) of Revista de Occidente, founded by $Jos{\acute{e}}$ Ortega y Gasset. The author of Cazador en el alba was well aware of the avant-garde aesthetics and hence he put into practice an artistic rupture of the traditional narrative forms of Realism. The work consists of two short stories: "Cazador en el alba" and "Erika ante el invierno". The use of metaphor, Francisco Ayala's preferred literary device (which Ortega y Gasset already emphasized in The Dehumanization of Art), reveals the influence of $Ram{\acute{o}}n$ $G{\acute{o}}mez$ de la Serna's Aphorisms. Through a metaphoric language, "Cazador en el alba" describes the life of Antonio, a soldier and peasant, who visits Madrid and confronts the urban reality of the metropolis. "Erika ante el invierno" portrays with a singular depth the solitude of a woman living in another metropolis, Berlin. The author confessed that he wrote both short stories influenced by the European avant-garde and its use of poetic imagery and metaphor, common practice at that time. However, the main purpose of this article is to reflect upon the society of the first decades of the $20^{th}$ Century: the city, the people and their lives, the societal changes, as well as the innovative perspective of the new art.

• 복식문화연구
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• 제19권1호
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• pp.128-149
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• 2011

This study dealing with the Italian futurist and Russian constructivist costume designs which aimed for new fashion design freed from the conventional meanings of fashion and explore the artistic purpose reflected within the designs expressed differently according to cultural and regional differences in order examine the early 20th century Avant-grade costume designs. The scope of this study is limited to the 1910s to the 1930s when the Italian futurism and the Russian constructivism were originated and were most active. This monograph focused on the works of the Italian futurists, Giacomo Balla who declared the 'Manifesto delle moda minile futurista', Fortunato Depero, and Thayaht who suggested a new direction for the futurist, and on the works of the Russian constructivists Alexander Rodchenko, Varvara Stepanova and Liubov Popova. As an one method of investigated, this paper is used materials of various sources to examine their features. Futurists costume designs expressed a radical conception of progress and their source of aesthetics was dynamism. The concept of 'power' which was the basis of the futurists was incorporated in the costumes while non-symmetrical cut-outs and bright and vivid colors completed the futurist costume designs. Moreover the Russian constructivists brought advances in the field of fabric and textile designs. What was particularly interesting about the Russian constructivist costumes was that the artists worked at the textile mills themselves, directly involved in the designs and manufacturing of fabric, developing an advancement in textile and a new understanding of costume. Furthermore, many Russian artists settled in Paris, actively participating in the fashion industry, and therefore, they have greatly contributed to the development of the early 20th century Avant-garde costume designs.

• 복식
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• 제56권1호
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• pp.106-120
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• 2006

Using aesthetics of Rosencranz as the basis, this study contains the peculiarities of 'ugliness' and the obscured conceptual meaning of 'avant-garde', 'grotesque', and 'decadence' that are being utilized under ambiguous significance are defined through modern fashion and fashion of online game characters. Forms of 'ugliness' expressed in modern fashion and in games characters display distortion of form through incongruity, unbalance, disproportion and disharmony, and with this lack of form and expressional imprecision, both contain the elements of comical characteristics of vulgarity and repugnance. The difference in 'ugliness' between modern fashion and game character fashion is, the significance of 'ugliness' being expressed in modern fashion challenges new concepts by refusing tradition and recovering the human nature that has become turbid. On the other hand, 'ugliness' in game character fashion complements the story of the game that uses legends, fantasies or novels as its basis. Opposed to the significance of recovering human nature that is displayed in modern fashion, in order to terminate the opposing game character, the fashion of game characters exaggerates the form of modern fashion with added brutality. In addition, with the advantage of virtual reality that allows a more flexible expression than in the real word, images created are more sensational and excessive use of grotesque images are being expressed.

• 한국의류학회지
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• 제33권7호
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• pp.1098-1108
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• 2009

This study finds the meaning of Anti Couture in the examination of the tendency and characteristics of aesthetics sense of Anti Couture in Contemporary Fashion. Anti Couture disregards the traditional composition and takes some subcultural elements, moreover, have the Anti-decoration characteristics of disproportion, disharmony, asymmetry, inperfection, and irregularity such as Japanese fashion. This study analyzed 600 works from 2000 S/S to 2008 S/S to figure out the Anti Couture to summarize the eclectic, humorous, avant-garde, poor, and minimal tendencies. The characteristics of the aesthetics sense of Anti Couture according to the tendency are analyzed into ambiguity, deformation, eclecticism, deconstruction, and artless art.

• 한국실내디자인학회논문집
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• 제22권2호
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• pp.112-119
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• 2013

This study focuses on an innate 'spiritual' quality of arts including building art, or a meaning of the religious philosophy of 'creativity-art'. In particular, this focuses, among two aspects in roots of modernism, especially on the irrational facet veiled by the name of 'a new' religious faith, rather than the rational such as the function. In fact, although modern Avant-gardes' religious philosophical faiths called by different names respectively have generally considered as one of the sources for their designs, nevertheless it had veiled because of the religious 'orthodoxy power' at that time. Arguably, as known well, the creativity of art is intimate relation with a religious ideas. Thus, for this purpose, this study treats this theme in central these three issues; Orientalism, Universalism, and Froebelianism which are intimate in the realm of religious philosophy. Ultimately, through a research on the universal religious philosophy in all three objects as keeping a quality not of pantheism but of 'Panentheism' emphasizing the individual's 'divine' artistic volition, this study deepens the understanding on the Creativity-art as the main characteristic of modernity. Namely, it is very important to draw a distinction between pantheism and Panentheism; because, through the pantheism, it is difficult to comprehend a stream and a characteristic of the twentieth new religious thoughts including those of modern avant-garde artists, as well as their existential free-will as a whole.

• 한국콘텐츠학회논문지
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• 제18권8호
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• pp.586-593
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• 2018

1967년 뉴스릴의 탄생은 영화사에서 작은 혁명이었다. 뉴욕 뉴스릴은 1972년도에 제 3세계 뉴스릴이 되었다. 제 3세계 뉴스릴은 탄생의 목적을 '텔레비전 뉴스에 대한 대안의 제공'이라고 분명하게 명시하면서 제작시스템과 배급시스템의 변혁을 예고하였다. 제 3세계 뉴스릴에서 활동하던 크리스틴 최는 이후 그녀의 작품들을 통해 뉴스릴에서 제시하였던 정신을 계승하였다. 본 논문은 제 3세계 뉴스릴과 뉴스릴을 대표하는 크리스틴 최를 통해 뉴스릴집단의 생산양식과 스타일/미학을 이야기하고자 한다. 그들의 활동은 출발부터 정치적이었으며 논란을 일으켰다. 그들은 제작주체가 누구여야 하는지, 배급시스템이 어떠해야 하는지 고민했으며 치열한 논쟁을 통해 협업생산, 집단정체성 등을 획득하였고 그것이 그들 작업의 토대가 되었다. 크리스틴 최는 제 3세계 뉴스릴의 중심인물로서 그녀의 작품은 인종문제와 젠더문제에 집중하고 있다. 그녀의 작품은 언제나 정치적이고 동시에 역사적이다.

• 복식문화연구
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• 제6권2호
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• pp.109-126
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• 1998

The purpose of this study was to analyze the expressional characteristics of the machine aesthetics in the fashion design. First, this study was started from analyzing mechanical beauty represented on the early 20th century art style. Machine aesthetics has influenced on the art and fashion design from modern to now. Futurism was grounded in the complete renewal of human sensibility brought about by the great discoveries of science. Especially, Russia avant-garde was inspired by the Futurism, that is Rayonism, Constructivism, Suprematism. Kasimir Malevich moved on immediately to purely abstract paintings of which the first was a black square on a white canvas. He had begun the art he called 'Suprematism'. Malevich's geometry was funded on the straight line, the supremely elemental form which symbolized man's ascendancy over the chaos of nature. The square was the basic suprematist element and was a repudiation of the world of appearances, and of past art. He repudiated any marriage of convenience between the artist and the engineer. Vladimir Tatlin made some of the most revolutionary works of modern art, these were the first works to be called 'construction'. Constructivists believed that the essential conditions of the machine and the consciousness of man inevitably create an aesthetic which would reflect their time. They eulogized simple shapes. That believed that buildings and objects should be freed from the ornamental excrescences and the accumulated barnacles of past art. Consequently, under the theoretical background, the result is as follows. First, The functional formativeness of machine aesthetics was expressed as a geometrical silhouette, construction line, non-ornamental construction, simple color in the 20th century design. Second, The mechanical formativeness of machine aesthetics was expressed as a construction of new material-iron, aluminium, plastic, glass-, geometrical form of material in he 20th century design. That is, machine beauty has more concerned with the expressional ideology of the art style and the formativeness of fashion design by silhouette, construction line, material, form.

• 복식
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• 제62권3호
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• pp.96-111
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• 2012

This study is to analyze fashion phenomenon according to the concept of the characteristics of freewheeling to explain the de-constructive, eclectic, avant-garde tendencies in Contemporary Fashion. This study is to elicit the aesthetic characteristics through 400 pieces of visual data analysis from 2001S/S to 2011F/W that have the characteristics of freewheeling, nontechnical experiments do away with the classical form. The oriental ideas include the thoughts of different tastes that break the stereotypes according to the Western values and the pursuit of unconventional beauty. These also insist that everything in the world including human-being, nature and creation is not divided into two equal parts, and even beauty and ugliness originated from one. This study is to find the possibility of interpreting oriental aesthetics with open concepts that transcends the boundaries of full availability, unlike the Western values that accommodate the relative concept of the pursuit of diversity. Therefore, integrated and systematic approaches of oriental aesthetics that place much value on the coexistence of antithetic concepts are needed to understand the ambiguity of complexity and diversity in Contemporary fashion design.