• Journal of the Korean Society of Clothing and Textiles
• /
• v.45 no.4
• /
• pp.630-647
• /
• 2021

As generations Y and Z gain influence, luxury fashion brands are interacting with younger digital consumers through fashion film, seeking to offer them a differentiated brand experience. Using a literature review addressing characteristics of fashion films as a communication medium and luxury fashion brands' heritage in the digital era, this study examines how brands express their heritage through fashion film, categorizing those expressions in terms of implicit meaning. The case study analyzed films from Louis Vuitton, Chanel, Dior, and Burberry uploaded to YouTube between 2018 and 2020. First, to retain their status as luxury, brands emphasize historical legitimacy. Specifically, they highlight their iconic historical image, their succession of creative directors, valuable historic locations, and diversity of consumer's brand experiences. Second, by stressing craftsmanship, integrating contemporary art and local culture, and utilizing a museum aura, they use brand heritage to acquire luxury status. Third, they attempt to mythify the founders by creating the persona of the fashion designer and the artist. The results show that the heritage depicted in fashion films is a key way in which luxury fashion brands resolve the tension between accessibility and exclusivity that they encounter and to get consumers emotionally engaged with brands.

• Proceedings of the Korean Society of Computer Information Conference
• /
• 2020.07a
• /
• pp.439-441
• /
• 2020

본 논문에서는 국가무형문화재 기록영상의 화질 개선에 관한 연구를 진행한다. 기록영상의 화질 개선을 위해 SRGAN 기반의 초해상화 복원영상 생성 프레임워크의 적용을 제안한다. Image aumentation과 median filter를 적용한 데이터셋과 적대적 신경망인 Generative Adversarial Network (GAN)을 기반으로 딥러닝 네트워크를 구축하여 입력된 Low-Resolution 이미지를 통해 High-Resolution의 복원 영상을 생성한다. 이 연구를 통해 국가무형문화재 기록영상 뿐만 아니라 문화재 전반의 사진 및 영상 기록 자료의 품질 개선 가능성을 제시하고, 영상 기록 자료의 아카이브 구축을 통해 지속적인 활용의 기초연구가 되는 것을 목표로 한다.

• Journal of Conservation Science
• /
• v.29 no.1
• /
• pp.25-33
• /
• 2013

This study aims to investigate the film performance by physical properties of glue and gelatin in traditional paint(Dancheong). To do this, homemade, commercial glue and gelatin was selected and evaluated water reaction and weatherproof. The result, the highest gel strength, gelatin was better than acrylic acid ester resin, when compared with hygroscopic property and adhesive property. And that was better than in any others, when compared with water-proofing.

• 보존과학연구
• /
• s.17
• /
• pp.100-122
• /
• 1996

We preformed many treatments to preserve Kim-gu's relics (Baekbum-ilgi and the clothes stained with blood). The first we performed re-paper mount of binding area of baekbumilgi, and fumigated all relics to sterilize microorganism. Then all relics were sealed with biaxially oriented polyvinyalcohol film(BO-PVA film) and $N_2$ gas filled up in the BO-PVA film bags. We investigated the paper condition of Baekbum-ilgi, its brightnees was 25-35%, water content was 9.4%, and acidity was pH 4.3. These results indicated that the paper was very weak. On the other hand, We analyzed his blood type and genetic type with the solidified blood of the clothes. In result, his blood type was AB and were classified 6 genetic types such that HUMTH01 was 7-9 type, HumTPOX was 9-11 type, HumCSF1PO was 12-13 type, HumF13A01 was 4-4type, HumFESFPS was 12-12, and HumvWA was 18-18 type.

• Journal of the Architectural Institute of Korea Planning & Design
• /
• v.35 no.4
• /
• pp.15-24
• /
• 2019

Currently, museums and architectural heritage provide augmented user experiences by incorporating various media technologies. They still, however, suffer from the limitation of entertainment-based and the provision of location-based simple and repetitive contents. In addition, while acting as a key medium of experience for architectural heritage, the concept of space is not properly reflected in current services. The purpose of this study is to design user space experience considering such characteristics of architectural heritage. The spatial experience content and content production platform are defined. This software platform creates content that enhances the experience of the place by giving a context-based digital data associated with space and objects. The spatial experience content is designed as a series of experience sequences. The composition of the sequence borrows the method of film and narrative which segment and connect consecutive experiences on a scene basis considering user's detailed spatial experience. Therefore, content components can be combined and reproduced in various types. Augmented contents were extracted by using rule-based reasoning function of ontology at the moment. As a practical example of architectural heritage, the Seokjojeon Hall is used to reveal a spatial experience scenario.

• Journal of Conservation Science
• /
• v.34 no.6
• /
• pp.539-548
• /
• 2018

This study was conducted to evaluate the effects of scattering radiation, which was not considered in the cultural Heritage radiography, by evaluating the relationship between the tube voltage (unit: kVp), film-floor-distance(FFD), and lead screen layout. The density (unit: D) of the test specimens and the scattered radiation increased with the tube voltage. The density of the test specimens showed an average deviation of 1.4 D; it was 0.17 D at 60 kVp, 1.54 D at 160 kVp, and 2.97 D at 220 kVp. The mean density of the scattered radiation was 0.10 D at 60 kVp, 0.40 D at 160 kVp, and 0.46 D at 220 kVp. The density tended to increase when the tube voltage ranged between 60 kVp and 160 kVp, as the FFD distance increased. However, a change in the permeation density was not observed for high voltages(160 kVp-220 kVp). Scattered radiation was observed when FFD was 50 mm, 100 mm, and 200 mm and no lead screen was used and the bottom surface was replaced with the lead screen. No scattered radiation was observed when FFD was 0 mm. The identification rate ranged from 2.08% to 2.67%, according to the FFD, for a 160 kVp tube voltage, and from 2.67% to 3.33% for a 220 kVp tube voltage.

• Journal of English Language & Literature
• /
• v.57 no.3
• /
• pp.515-527
• /
• 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.

• 보존과학연구
• /
• s.19
• /
• pp.23-34
• /
• 1998

Bokam-ri site was excavated from July 1996 to September 1998 and archaeologically assumed to be grouped with tombs of Mahan period. Among these groups, Tomb No. 3 had built up with stone chamber and found one pair of gilted footware near the jar coffin. This footware was severely corroded and cracked so transfered it gently with soil. Radiography film of this footware showed spike decorations on the bottom and fish-shapped ornament. Gilted footware was consolidated with soil using Paraloid B72 10%~15%solution and cleaned using small tools and microscope. SV427 and HV427 as epoxy resin and Araldite(rapid type) used for joining and restoring. The fore part of gilted footware was connected with nails and folded “L” shape to introduce the bottom material. Tortoise-shell design and flower ornaments appeared on the surface and fish-shaped ornaments, spikes and spangles on the bottom. It was found that 7 spikes and 5 fish-shaped ornaments remained well. Especially, Fish-shaped ornaments were firstly found in the gilted footware and appraised archaeologically important materials.

• Korean Journal of Heritage: History & Science
• /
• v.48 no.4
• /
• pp.44-61
• /
• 2015

Mural tomb in Goa-ri(Goryeong) built in the 6th Century Gaya period investigated precisely by the scientific method. They were used to optical equipments for investigation and made a damage map according to the damaging types. The mortar layer was mostly exfoliated from the rest of the wall except for the burial chamber ceiling and corridor ceiling. Also painting layers rarely not observed. Most of the paintings were damaged except lotus painting in burial chamber ceiling. Various damage types that exfoliation, earthen dirt, film coating were found in murals. Damage factors of mural were the porous characteristics of mortar layer and the movement of moisture in the murals. They were caused physical damage such as crack, exfoliation. It was getting worse and causing to secondary damage like earthen dirt, film coating.

• Conservation Science in Museum
• /
• v.16
• /
• pp.96-113
• /
• 2015

High-barrier films are used to store cultural heritage objects in a safe environment sealed from oxygen and moisture. One of the high-barrier films use populary E manufactured by Japanese company M from the 1990's. However, this product has stayed in wide use, due to dearth of research on related subjects - including studies comparing it with other similar products-, in spite of the fact that high price information about its characteristics and environmental conditions is largely lacking. This study examines the characteristics of a number of high-barrier films with the goal to establish environmental standards for safer conservation of cultural heritage objects. E by the Japanese manufacturer M is compared with four other films; an electronics packaging films by a Korean firm, a film specially produced for the purposes of experiment in this study and a zipper bag-type film. Experiments were performed to compare the properties and gas blocking ability of the films by looking at their cross-section and measuring the thickness, tensile strength, elongation, absorbance of UV and visible light, yellowing and the permeability for oxygen and vapor. Based on these experiments, there are observed changes under different environmental conditions and depending on the length of use through temparature and humidification reproucing test. The results showed that while the high-barrier film by the Korean manufacturer was suitable for use as a packaging material for cultural heritage objects, the zipper bag-type film (P) was ill-adapted for this purpose. Based on the experiments reproducing the real-world environment, the length of useful life was also determined for each.