• Fashion & Textile Research Journal
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• v.20 no.3
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• pp.257-265
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• 2018

This study investigated the colors of the costumes in the film 'The Handmaiden'. The author categorized and examined the hue and tone of the main character's costume as well as provided an adjective image surveyed from the standpoint of the audience in order find if the intended story of the director is delivered to the audience through costume colors. Study method analyzed 25 set costume colors of the heroine 'Hideko'. The color analysis were analyzed by capturing DVD images that showed the costume of 'Hideko'. The colors of costumes were analyzed by recognition through the eyes based on the IRI, Hue, and Tone 120. In addition, the analysis of the IRI adjectives image were conducted through the survey. Costume hue of the heroine 'Hideko' in the film 'The Handmaiden' were black, yellow, white, green, and purple. There were many colorful costumes in the movie. Tones were very pale, deep, bright, vivid, strong, and pale. Chroma were evenly distributed and brightness were distributed in the order high, middle, and low. They were interpreted as the intention of showing the situation and psychology of 'Hideko' in various scenes of the film through various costume colors. Color images of the film 'The Handmaiden' were classified as feminine, mature, classy, delicate, classic, noble, polished, refined, showy, western, mellow, pure, and decorative.

• Journal of Fashion Business
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• v.9 no.1
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• pp.99-112
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• 2005

The purpose of this study is to create party wear of heroine Satine's image. This study analyzed the costume and its image of the film "Moulin Rouge" which the director Baz Luhrmann filmed the club 'Moulin Rouge' has existed in Paris, France. Catherine Martin, who got the Academy awards in movie costume and art director with this film, made the costume which was added more gorgeous and modern sense for the image beauty for costume in film from the costume design which appeared in the art work of Toulouse-Lautrec painted Moulin Rouge. In the costume form, S-silhouette robe with gored skirt was appeared as usual garment and gorgeous corset style costume which was outer garment like underwear exposed of the body, pleasant apolaustic and decorated excessively was appeared for costume design. Based on the above study, this study created the party wear of the graceful eroticism image and the prostitute eroticism image of heroine Satine. The costume design of Satine's image was planned along the character which was analyzed through this study.

• Journal of Fashion Business
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• v.19 no.2
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• pp.118-135
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• 2015

This study probed into the fashion of modern girls between the 1920's and the 1930's who led the mentality and fashion of women as the progenitor of the alpha girl in Korea. For this, the fashion of actual people who received attention as modern girls in various occupations and that of modern girl heroines reinterpreted in films were examined. Methods included the theoretical study based on fashion related newspaper articles at the time, specialized publications, advance researches, and internet data and the empirical study that involved contents analysis centering on visual data. The Western women's fashion between the 1920's-1930's was dominated by the garçonne look to promote women's entry into society and competition against men and the practical and mature long and slim look due to the influence of economic recess. Korean people also adapted Western clothes following Western fashion while also modified the traditional clothes and wore modified Korean clothes. The fashion of 5 actual modern girls of Korea and that of 3 film heroines were examined. The fashion of actual people most well represented the fashion trends at the time and that they used fashion as the means to express their mentality and their artistic propensity and professionalism were expressed through fashion. On the other hand, the fashion of film heroines substantially expressed various occupations of the characters in the film and reflected trendy clothes and cosmetics, and it showed sexy and romantic fashion trend due to the influence of modern trends and reinterpretations.

• International Journal of Contents
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• v.7 no.3
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• pp.60-64
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• 2011

Jane Campion's is a well-known film for a number of reasons, such as for being an Oscar winner, for having been helmed by an emerging director from New Zealand, and for having the reputation of being a feminist film. In this paper, the first scene of was chosen to examine the heroine Ada's language in terms of the gothic genre. Ada is a dumb woman who lives in the era of man's language. She represents the women's social position in the Victorian era but has her own and unique language for communicating with the outside world. The first scene of introduces Ada's own language, using her fingers. Her fingers speak for her all the time instead of her mouth, and there is someone who can understand what she wants to say when all others cannot. How the film depicts Ada's language and how the first scene well summarizes the film's core are examined herein.

• International Journal of Costume and Fashion
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• v.5 no.2
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• pp.46-54
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• 2005

The Purpose of this research was focused on analyzing how costume was exactly researched for film in comparison with the original Renaissance costume, and how to change the degree of brightness and chroma in costume of two films, 'Shakespeare in Love' and 'Elizabeth: The Virgin Queen'. For these purpose, each costume of main seven scenes was analyzed in terms of silhouette, detail, and trimming. Color image, brightness and chroma of costume were compared with the color chip data from Samsung Design Net. As results, costume from two films had exactness in historical research. but the original costumes were modernly changed by the purpose of director. Color image of costume were used proper colors for the characteristic of the story. Costumes of heroine was numerically changed at the degree qf the brightness and chroma through story-going. By this change, director could effectively give dramatic rhythm for the story. The limitation of this research was that color analysis had been conducted on the screen, and this fact might mean the original colors of film might be different from those of screen.

• Journal of Fashion Business
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• v.9 no.3
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• pp.150-161
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• 2005

The retro fashion and orientalism have been the main trend in the fashion industry tram 2000 as the turning point tram the minimalism. In particular, the far eastern oriental ism, that is, Japanese orientalism had been rapidly spread from 2001. As the trend has been moving to Chinese orientalism from 2003, the fabrics with flower pattern prints and those imbued with Chinese orientalism that were popular in 1960 are the main stream in the textile industry at present. As keeping up with the current trend, this study analyzed the common features and differences between textile patterns with Chinese orientalism that are prevailing ai present and the textile patterns that were popular in 1960s through the film "In the Mood for Love" that told the story of people who immigrated from Shanghai to Hong Kong in 1960s. According to the analysis, the popular textile patterns in 1960s were splendid flower patterns, pop art and op art patterns. Such a trend was elegantly expressed as the textile pattern of Chinese orientalism using qipao in the film "In the Mood for Love".

• The Journal of the Korea Contents Association
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• v.18 no.4
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• pp.495-502
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• 2018

This article sees the core characteristics of the elderly movies, which have become active in the 2000s, as the structure of fantastic dream. And I analyze the aspect and significance of the structure of fantastic dream .of 'reality-dream-reality', which is centered on . The structure of fantastic dream. is a traditional form handed down from the Silla era, and it is well-known in "Gumoshinwha" and "Guunmong". In , the aspect of the structure of fantastic dream is summarized as 1)the duality of person and space, 2)the boundary between reality and unrealism. In this film, heroine is suffering from a disagreement with daughter-in-law, hospitalized in a nursing home. After heroine passed the world of dreams, becomes a new person. expresses the process of solving the conflict of the characters, realizing the hope, and the process of mental rebirth through a structure of fantastic dream. The elderly movies accept the universality of the structure of fantastic dream and the special characteristics of an aging society.

• The Research Journal of the Costume Culture
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• v.5 no.2
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• pp.285-295
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• 1997

This dissertation aims to study a role and importance of clothing as a visual transmission system, with investigating the system and structure of a pragmatics in a cinema costume and analyzing what the meaning of a pragmatics is, depending on the circumstance on the circumstance on the basis of pragmatics. It examines as an objective the clothes of Scarlett, a heroine in 'Gone with the Wind's film originated from the novel written by Margaret Mitchell. As a result of this study, the movie costumes demonstrate a purposed transmission medium as a describing tool governing comprehensive circumstances in the process of drama. The costume plays a significant role in delivering a meaning of a movie showing historical backgrounds, social situations, and psychological description, status, characteristics, tastes of characters by means of their costumes in the movie.

• SUVANNABHUMI
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• v.1 no.1
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• pp.75-89
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• 2009

This paper aims at scrutinizing how the women's image in the Thai film 'Nang-Nak' has been represented, affecting the Thai people intensely and achieving its great success in spite of having the background of 19th century and being a remaker. To fulfill the purpose and analyze the argument, the ideas of Lee(1989), Joan(1973) and Joo(1996) are used as theoretical concepts for this study. As a result, two images of Thai women seem to be revealed in the movie. The first image, drawn from 'Maen' and 'Mian', is conventional, somewhat ideal type for Thai women, so being a common aspect. What makes the movie a big deal, however, is another image which the heroine 'Nak' has shown, attracting the audience to be moved to tears. It may be apparently an idiosyncratic or extraordinary one from the traditional point of view in Thailand, but in other sense is a new, fresh image for which the contemporary Thai women want to seek. That is why the movie became one of the most popular in Thailand.

• The Journal of the Korea Contents Association
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• v.22 no.10
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• pp.143-153
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• 2022

Any kind of animation film are almost inseparable from the role of characters, with distinct personalities, and well-created characters are not only the expressors of narrative and themes, but also the ones who communicate with the audience and form resonance. Nowadays, with the improvement of the public's aesthetics, the production of excellent animation, the characters with a single personality have been almost eliminated. So how to create a profound role has become a topic worthy of study. This paper is based on Freud's theory of personality structure and ego defense mechanism. The main research object is the main character of the animation film "The Tale of The Princess Kaguya". At the end of the thesis, by analyzing Kaguya's image characteristics and individual pursuits, it explores director Isao Takahata's understanding of character shaping. In this way, it also provides a reference to produce animation works.