• Journal of the Korean Society of Costume
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• v.62 no.8
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• pp.55-70
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• 2012

In 16th century, during renaissance time, Britain's queen Elizabeth I, as a means to express her authority, had an exaggerated clothing styles and was the fashion leader of the time. Thus, through a media of Cinema, tried to find out the characteristics and different aspects of the history of clothing styles, of how they changed, ascertained, restored, and reappeared in the modern time. The research was based on the consideration of Elizabeth I's 33 portraits and her clothing styles; and the research is also from analysing the movies from 1937 to 2007, a total of 9 Cinema and 102 clothes. Movie costumes' most important mission is representing the cinema's timely and spatial background. Thus, it is inevitable that ascertaining and restoring Elizabeth I's portrait should be done. However, the movie costume has to show her dramatic lifestyle, dignity, absolute authority, and other visual images. In addition, the costume has to contribute in making artistic effect and thus the creativity of a designer to satisfy all these needs should be added. Based on the findings from the research, the characteristics of Elizabeth I's Cinema costume are first, ascertaining and restoring portraits, second, mixture of silhouette and detail depending on time period, third, partial change on clothing style design, fourth, emphasis of ruff collar, fifth, magnification colors, sixth, avoiding excessive swelling and decoration, and applying modern style on Protective costume. Thus, based on the research, creative design in Cinema clothing, plays an important part in the history of clothing design. I hope this research could work as a foundation reference for clothing design's history.

• The Research Journal of the Costume Culture
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• v.18 no.5
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• pp.1031-1047
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• 2010

This study examines the conceptual characteristics of fantasy movies. It also studies the process of socio-cultural changes of the mythical images such as heroes, goddesses and the devil that have often become the centre of fantasy movie characters. This study further examines the features of each character that correspond to specific mythical images. The purpose of this research is to suggest the conceptual and aesthetic characteristics of fantasy reflected in the characters and the costumes of fantasy movies, which were released since the year 2000. The followings are the results of the research: The conceptual characteristics of fantasy reflected in the characters and the costumes of fantasy movies are summarized as representation of reality, allegory and symbols, horror, desire, deconstruction and metamorphosis, otherness and counter-cultural sentiments. The aesthetic characteristics of the costumes of fantasy movies are defined as typicality and symbolism, grotesqueness, sensuality, hybridization, and otherness. These characteristics are very interconnected. The costumes of heroic characters appearing in fantasy movies show strong side of standard while the costumes of the evil characters revealed the limit of dualistic point of worldview centered on West. Heroic characters show realistic and human side that reflects the ethos of the time. Negative characters such as the devil or witches, which were created in human imagination and emotion, become the dynamic force of fantasy movies through their deviant actions. Their clothes, with variety and hybridization, become the source of creativity expected in present society.

• The Journal of the Korea Contents Association
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• v.18 no.1
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• pp.403-411
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• 2018

This study analyzes the attitude toward new products through case studies. The contents of the case study applied to the study were analyzed about the attitude of the new product to the recently screened movie "Sanguiwon(the royal tailor)". The court was an institution that oversees the clothes of the royal family in the Chosun Dynasty. In a conservative and closed market environment, attitudes toward acceptance of new products are strongly influenced by internal and external factors. Authoritative and conservative attitudes to secure competitive advantage in existing markets ultimately hamper the acceptance of new products or cause externalities. Eventually, innovative resistance to new products emerges. On the other hand, the acceptance of new products in an open market will form an attitude toward new products, once they form a respectful attitude towards their own benefit or attitude. These market leaders, depending on the way they pursue their values, form an attitude to adhere to their products or accept innovation. The validity of this study was verified through other cases. Ultimately, success in the market for new products suggests that success can only be achieved by understanding the delivery of value to consumers.

• Archives of design research
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• v.17 no.1
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• pp.339-346
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• 2004

Matrix, produced by Larry & Andy Wachowski, was relatively precisely dealt with the cyber world. After the movie was released, it had a mania for the movie and was adopted into a various forms of cultural products. It was remade not only into the parodies of the other movies and TV programs, but also the clothes and miscellaneous items of the movie were reincarnated as an unique cultural trend. The cause of the popularity is the fresh storyline as well as the sophisticated visual effects and good-looking actors. The agony of the protagonist was connected with the people outside the movie who are yearning for the ideal world. He was confused at the fact that his circumstances which were believed as the real world were not tortally true, complicated between the sensually phisical truth and the spiritual truth and had an will for the freedom that would ransack the truth and save the other people from the fictitious world. Consequently, the movie has got sympathies with many audiences suggesting the situation that has no a firm belief of the reality, the difference between the real and the cyber world is meaningless and the faked images of the high-technology are overturned This thesis tries to study the present that the real images are excessly duplicated and consumed, related to the Jean Baudrillard's theory, 'Hyperreel'. Replaced the real objects by a technical programming in the Matrix world, there happens the image-violence that the true nature is slaughterred by images. In the world where the reproducts are more actual than the reality and pretends to be real, only semiotics are consumed and produced. That is to say, the tortally programmed images has no references and aims, therefore should be produced in an 'impediment-strategy' like a faked crisis. That is the step of 'Simulation' that artificially reincarnates the real. Based upon the Baudrillard's theory, 'Simulacre', this study tries to research today's post-modern situation that the boundary of the real world and the faked copy is vague and vanishing, through the analysis of the cyber world of the movie 'Matrix'.

• ETRI Journal
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• v.37 no.2
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• pp.395-405
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• 2015

We address the problem of uncooperative person recognition through continuous monitoring. Multiple modalities, such as face, height, clothes color, and voice, can be used when attempting to recognize a person. In general, not all modalities are available for a given frame; furthermore, only some modalities will be useful as some frames in a video sequence are of a quality that is too low to be able to recognize a person. We propose a method that makes use of stochastic information updates of temporal modalities and environment estimators to improve person recognition performance. The environment estimators provide information on whether a given modality is reliable enough to be used in a particular instance; such indicators mean that we can easily identify and eliminate meaningless data, thus increasing the overall efficiency of the method. Our proposed method was tested using movie clips acquired under an unconstrained environment that included a wide variation of scale and rotation; illumination changes; uncontrolled distances from a camera to users (varying from 0.5 m to 5 m); and natural views of the human body with various types of noise. In this real and challenging scenario, our proposed method resulted in an outstanding performance.

• Fashion & Textile Research Journal
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• v.11 no.2
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• pp.219-230
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• 2009

The purpose of this paper is to study characters' make-up coordination that changes the narrative of the fantasy movies to a visual fantasy, especially it focuses on the post-modern features from the works of Tim Burton, a post-modernist. The contents of the study are, firstly, studying post-modernism that influenced the works of Tim Burton, secondly, researching (1988), (1989), (1990), (1992), (2003) and (2005) and their main characters' make-up design. Thirdly, analyzing the otherness and plural-code that are the post-modern characteristics expressed on characters' make-up coordination of fantasy movies. The otherness means the division of the middle and the surroundings and the rise of the outsiders. Fantasy characters that scares off human such as ghosts, aliens, apes, kidults, mutations, man-made men are in the middle. The plural-code takes the symbolic and pluralistic dimension in to the movie, mixes the sign system, and which natural and supernatural system cross over. In the movies, Beetle Juice who was both ghost and devil expresses life and death, Bat man, Cat woman, Penguin man expresses human and animal, and Edward means human and inhuman. Willy Wonka's makeup makes him look younger, but his grown-up-like clothes show doubleness. For that matter, make-up coordination is the mirror of reflection of period and human being's inner life.