• 영어영문학
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• 제57권3호
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• pp.515-527
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• 2011

Miss Pettigrew Lives for a Day, Winifred Watson's novel of 1938, is a fairytale in novel form. Set in London of 1938, the story revolves around a one-day adventure of an ill-starred but truthful governess who is granted a second chance. This light-hearted comedy of manners was turned into a film by director Bharat Nalluri in 2008. An Anglo-American collaboration, co-scripted by Simon Beaufoy and David McGee, the film converts Watson's quaint novel into an edged heritage piece that encapsulates the 1930s, the problematic decade between the two World Wars. The film, while sustaining the narrative core of Watson's Cinderella story, attempts to place it firmly within a wider current of the novel's setting or London in 1938, tapping into the major concerns of the interwar years that engage with characters in one way or another. Stylistically, the film presents Art Deco as a main visual idiom to convey the prevailing mood of nihilism and decadence of the day. The setting here takes on significance in that it offers a telling counterpoint to the giddy superficial world of the novel. The 1930s was a highly charged decade under the threat of fascism and the Great Depression, fraught with economic and socio-political tensions and apprehensions. The film makes an explicit reference to the dismal context which is suppressed in the original text. The thirties is, therefore, portrayed as a decade of contradiction. It features gay buoyant festivity, rampant consumerism, and shifting morals and attitudes towards love, marriage and sexuality. Yet lurking beneath the surface glamour are the symptoms of crises and the deep-seated anxieties on the eve of World War II. In this way, Watson's novel of manners has been recreated into a defining film on the 1930s with its period feel propped by the atmospheric lighting, the exuberant Jazz score, and the splendid Art Deco costume and production design.

• 한국콘텐츠학회논문지
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• 제16권6호
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• pp.151-167
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• 2016

외형적으로 화려하고 인기직종으로 보이는 광고모델이지만 이면에는 많은 광고모델들이 직업에 적응하지 못하고 비교적 단기간에 이직하고 있다. 이는 광고모델 에이젠시의 업무에 상당한 차질을 초래하고 그 신뢰성에 부정적 영향을 주며 매출감소로 이어지고 있다. 이에 본 연구에서는 광고모델의 전문직업적 정체성, 감정노동, 역할갈등이 이직의도에 미치는 영향을 알아보고 또한 전문직업적 정체성, 감정노동, 역할갈등과 이직의도의 관계에서 신뢰성과 매력성 그리고 윤리적환경의 조절효과를 분석하여 광고모델의 이직의도에 대한 개선책을 제시하고자 하였다. 연구결과에 따르면 역할갈등, 감정노동, 전문직업적 정체성의 순서로 광고모델의 이직의도에 영향을 미치는 것으로 나타났다. 또한 위계적 회귀분석을 사용하여 이들 독립변수들과 이직의도간의 관계에 신뢰성, 매력성, 윤리적환경을 투입하여 조절효과를 검증한 결과 신뢰성은 감정노동이 이직의도에 미치는 부정적 영향을 조절하며, 윤리적환경은 전문직업적 정체성이 낮을 경우 이직의도에 미치는 부정적 영향을 조절하는 요인으로 나타났다. 이러한 결과는 감정노동자인 광고모델에게 자기신뢰가 갖는 중요성을 부각시키고 광고모델이 태어나는 것이 아니라 전문적이고 체계적이며 바람직한 직업 환경에 의해 만들어짐을 의미한다 하겠다.

• 한국복식학회:학술대회논문집
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• 한국복식학회 2001년도 19th International Costume Association Congress
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• pp.11-13
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• 2001

For those unfamiliar with the shoe world, Pinet (1817-1897) was a contemporary of Worth, the great Parisian couturier. So I look at the glamour shoes and the world of haute couture, and indeed the development of the named designer. That is a concept we are all familiar with now. So it is not easy to comprehend the lack of names for the exquisite work before 1850. Straightway I have to say that the number of noted shoe designers is far fewer than famous dress designers, but I will introduce you to some of them, against the background of contemporary shoe fashions. Franc;ois Pinet was born in the provinces (probably Touraine) in 1817, two years after the end of the Napoleonic Wars. His father, an ex-soldier, settled to shoemaking, a comparatively clean and quiet trade. It had a tradition of literacy, interest in politics, and was known as the gentle craft, which attracted intelligent people. We should presume father would be helped by the family. It was usual for a child to begin by the age of 5-6, tying knots, sweeping up, running errands and gradually learning the job. His mother died 1827, and father 1830 when he was 13, and at the time when exports of French shoes were flooding world markets. He went to live with a master shoemaker, was not well treated, and three years later set out on the tour-de- France. He worked with masters in Tours and Nantes, where he was received as Compagnon Cordonnier Bottier du Devoir as Tourangeau-Ia rose dAmour (a name to prove most appropriate). He went on to Bordeaux, where at 19 he became president of the local branch. In 1841 he went to Paris, and in 1848, revolution year, as delegate for his corporation, he managed to persuade them not to go on strike. By now the shoemakers either ran or worked for huge warehouses, and boots had replaced shoes as the main fashion. In 1855 Pinet at the age of 38 set up his own factory, as the first machines (for sewing just the uppers) were appearing. In 1863 he moved to new ateliers and shop at Rue ParadisPoissoniere 44, employing 120 people on the premises and 700 outworkers. The English Womans Domestic Magazine in 1867 records changes in the boots: the soles are now wider, so that it is no longer necessary to walk on the uppers. There is interest in eastern Europe, the Polonaise boots with rosette of cord and tassels and Bottines Hongroises withtwo rows of buttons, much ornamented. It comments on short dresses, and recommends that the chaussure should correspond to the rest of the toilet. This could already be seen in Pinets boots: tassels and superb flower embroidery on the higher bootleg, which he showed in the Paris Exposition that year. I think his more slender and elegant Pinet heel was also patented then or 1868. I found little evidence for colour-matching: an English fashion plate of 1860 shows emerald green boots with a violetcoloured dress.

• 한국의상디자인학회지
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• 제7권3호
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• pp.63-74
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• 2005

The cinema costume designers carry out the creative works in a different way from the commercial fashion designers generating the new trends by season or year for a number of people. Costumes created by the cinema costume designers are for the people acting in the film screens such as heroes, heroines or extras. The cinema costume designers should not miss the overall flow of a cinema. Moreover, the prominent designers have to devise the costumes livening up every scene. Most cinemas with the prudent interests and attention on the costumes are favored by the public and gain the commercial success. In particular, the cinemas emphasize the visual effects such as setting, lighting and computer graphics and require the substantial budgets for preparing the costumes regardless of genres, while all other industrial fields will be the same. Such efforts are to deliver the meaning and aesthetics that the cinemas intend to show through the designs, colors and textures of costumes closed up in each scene. The costumes in cinemas are another linguistic system and have the symbolic form of compound and meaningful communication used by the directors. The costume design is required to produce the costumes that liven up the characteristics of heroes or heroines as well as to fit for the general artistic effects of films. Moreover, it has to express the characters in the films using the costumes suitable for the film genres. Cinema costumes are defined and refined, and the process can be angst-ridden. Each frame of film is a canvas and has its own proscenuium. Every garment worn in a theatrical production is a costume. Before an actor speaks, his wardrobe has already spoken for him. From the most obvious and flamboyant show clothing, to contemporary clothes using subtle design language, costume design plays an integral part in every film production. Costume design is a vital tool for storytelling. Costumes have always had enormous influence on world fashion. Costume designers are passionate storytellers, historians, social commentators, humorists, psychologists, trendsetters and magicians who can conjure glamour and codify icons. Costume designers are project managers who have to juggle ever-decreasing wardrobe budgets and battle the economic realities of film production. Costume designers are artists with pen and paper, form, fabric and the human figure.

• 식품보건융합연구
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• 제5권1호
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• pp.1-11
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• 2019

Smoking has become one of the public health harzard affecting the world. In the UK, smoking is responsible for around one in five deaths. The illnesses caused by smoking extend beyond the well-reported links with cancer, heart disease and respiratory illnesses. Hence the research to determine the awareness of the predisposing factor to smoking among adults in sokoto metropolis. A cross-sectional form of descriptive survey research design was used for this study. This is because descriptive studies are used when the characteristics of a population are either unknown or partially known (Hennekens & Buring, 2007), and it was used by Ganley and Rosario (2013) in a related research this justified the use of similar design in a study of similar nature.Two hundred and seventy returned questionnaire was collected, analyzed using descriptive statistic of frequency count, normative percentage and grand mean; as well as inferential statistics of chi-square (${\chi}^2$). The level of significant was fixed at 0.05. Appropriate degrees of freedom were worked out. There was statistical significant influence or relationship with marital status on the predisposing factors of smoking chi-square of 19716.516 greater than the critical value 43.77297at df 30 p<0.05. There were statistical significance chi-square =27468.348 which is greater than the critical value 43.77297 at df= 30. These show that there is a relationship on gender awareness of predisposing factors to smoking rejecting the null hypotheses. The respondents across different lever/year higher institution shows that the awareness of predisposing factors of smoking there were a statistical significance difference chi-square =7168.429 (df=88) greater than critical value 102.342 rejecting the null hypotheses. There is consistent evidence that links exposure to depictions of smoking in movies and initiation of smoking in young people. Over the years television shows and films have effectively built up associations between smoking and glamour, sex and risk-taking. Social learning theory describes how we learn by example from others. We are strongly influenced by our parents, and other people we look up to, such as peers, actors and pop stars. This can lead us to emulate their behaviour and try smoking.

• 대순사상논총
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• 제18권
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• pp.101-122
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• 2004

When people discuss the continental cultural elements in the ancient East Asian culture, people always attach great importance to the two major cultures of Confucianism and Taoism, but offer little explanation to the significant influence of the theory of yin and yang, the important philosophical base of the two major cultures. The theory of yin and yang, existing as the theoretical source at a profounder level, possesses philosophical connotations that are always embedded into the mainstream of thought, religions and customs, displaying its unique glamour in its unique way. Its influence is more than that, however. It has exerted far-reaching influence on and is of significant importance to the development of the ancient culture of East Asia. This article aims at exploring this field of study. After the erudite scholar of The Five Classics made a voyage to the east in the early sixth century, The Book of Changes, the most important Chinese ancient classic expounding the theory of yin and yang, started to circulate among the Japanese court, via Baiji in the Korea Peninsula. As a result, the theory of yin and yang found its way to Japan. Examining the spreading channels, we learn that the theory's dissemination was largely related to the activities of Buddhist monks. Shoutoku Prince, regent of Japan at the time, was himself an enthusiastic supporter of Buddhism and was excelled in the study of The Book of Changes and the theory of yin and yang. In the Twelve Ranks System and Seventeen-article Constitution promulgated by Shoutoku Prince, the influence of the theory of yin and yang and of the theory of the five elements can be visibly discerned. This obviously proves the sublime status of the Chinese theory of yin and yang in Japan, thanks to the victory of the political clique that adored Buddhism. In the shaping course of ancient Japanese culture, the theory of yin and yang served as an important philosophical source of its development. Mythology based on Kojiki and Nihon Shoki, two earliest Japanese books that exist today, record mythological stories about the emergence of the Japanese nation. The notion about the birth of heaven and earth and the forming of Japanese Shinto, expressed in the mythological stories, not only tell us the source and historical progress of the Japanese nation but also the nation's world outlook in the transition from barbarian period to civilized period, as well as the basis for its philosophical thinking. All these were marked with profound influence of the Chinese theory of yin and yang. The theory of yin and yang, as one of the ancient Chinese academic thoughts, was accepted asa political belief when it first spread to Japan. The emergence and establishment of both the Mikado system and the centralized regime in ancient Japan drew largely on the theory of yin and yang and adopted it as an important philosophical basis to deify and aggrandize the "imperial power" so as to protect the authority of the imperial ruling and consolidate the established regime. Following the continuous strengthening and expansion of the centralized state power, the theory of yin and yang was further employed, and gradually "hidden" in Japanese culture with the passage of time, finally becoming the edge tool of ancient Japanese Mikados in exercising political power and controlling the country.