• International Journal of Costume and Fashion
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• 제6권2호
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• pp.28-42
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• 2006

In present modern society, media contributes more to the constructing of personal identities than any other medium. Music video, a postmodernism branch among a variety of media, offers a complex experience of sounds combined with visual images. In particular. fashion in music video helps conveying contexts effectively and functions as a medium of immediate communication by visual effect. Considering the socio-cultural effects of music video. gender identity represented in fashion in it can be of great importance. Therefore, this study is geared to the reconsidering of gender identity represented through costumes in music video by analyzing fashions in it. Gender identity in socio-cultural category is classified as masculinity, femininity, and the third sex. By examining fashions based on the classification. this study will help to create new design concepts and to understand gender identity in fashion. The results of this study are as follows: First. masculinity in music video fashion was categorized into stereotyped masculinity, sexual masculinity. and metro sexual masculinity. Second, femininity in music video fashion was categorized into stereotyped femininity. sexual femininity, and contra sexual femininity. Third, the third sex in music video fashion was categorized into transvestism, masculinization of female, and feminization of male. This phenomenon is presented into music videos through females in male attire and males in female attire. Through this research, gender identity represented in fashion of music video was demonstrated, and the importance of the relationship between representation of identity through fashion and socio-cultural environment was reconfirmed.

• 한국콘텐츠학회논문지
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• 제16권2호
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• pp.251-256
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• 2016

뮤직 비디오는 오디오 음반의 발매와 함께 그에 어울리는 영상을 추가하여 비디오 클립으로 제작되는 멀티미디어유형이다. 원래는 단순한 음반의 홍보수단으로 출발하였으나 음악전문 케이블 M-TV 방영의 주요 콘텐츠로 각광받게 되면서 대량 제작되기 시작하였다. 21세기는 스마트 폰 시대로 애니메이션, 실사 영화, 다큐멘터리를 비롯한 다방면의 영화 제작 기술을 사용하고 있다. 그 중에서 사진적 이미지의 뮤직비디오를 대표하는 사진작가 겸 뮤직비디오 감독인 안톤 코빈과 스테반 세나두이를 중심으로 그들의 작품 경향을 분석하고자 한다.

• 한국ITS학회 논문지
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• 제9권5호
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• pp.80-86
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• 2010

본 논문에서는 차량 내의 멀티미디어 시스템에 장착되는 엔터테인먼트 기능 중의 하나인 음악스토리 자동생성 기술을 소개한다. 음악스토리 비디오 자동생성 기술은 개인이 소지하고 있는 휴대폰을 차량 내의 멀티미디어 시스템과 연결하여, 휴대폰 안에 저장된 음악과 사진의 결합을 통해 음악비디오를 자동으로 생성하는 멀티미디어 요소기술로서, 사용자에게 분위기에 맞게 음악을 들으면서 생성된 음악스토리 비디오를 즐기는 기능을 제공한다. 음악스토리 비디오 자동생성 기술에 대한 성능은 음악분류, 사진분류, 핵심단어 검출 등의 정확도와 생성된 음악스토리 비디오를 시청한 사용자의 MOS 결과를 통해 측정되었다.

• 한국엔터테인먼트산업학회논문지
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• 제14권8호
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• pp.63-75
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• 2020

이 연구는 유튜브 케이팝 뮤직 비디오의 조회수와 시각적 연출 특성 간의 관계에 대해서 연구한다. 2012년 '강남스타일'의 국제적인 주목을 시작으로 현재까지 전 세계로부터 관심받고 있는 케이팝 뮤직 비디오를 중심으로 분석한다. 직관적으로 드러나지 않는 뮤직 비디오 조회수에 관련한 요소의 실재 여부와 조회수에 영향을 주는 구체적인 요소의 발견 가능성에 대해 의문을 제기한다. 이전 연구는 조회수와 관련된 뮤직 비디오의 요소를 알아내는 데에 있어서 소수의 작품을 중심으로 뮤직 비디오들을 비교하는 연구방법을 선택했기 때문에 중심이 되는 작품에 편향된 결과가 나온다는 한계가 있었다. 따라서, 이 연구는 조회수에 따라 9개의 뮤직 비디오를 3개의 그룹으로 나누고 시각적 연출 특성을 기준으로 분석하여 3개의 그룹 간 차이점 및 각 그룹의 특징을 찾는 것을 목표로 한다. 이 연구는 조회수라는 요소가 주목받고 있는 유튜브 시장 내 뮤직 비디오 분야의 발전에 기여할 것으로 기대된다.

• Asia pacific journal of information systems
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• 제25권1호
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• pp.119-141
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• 2015

With the rapid spread of social media, video-sharing social media like YouTube has emerged as a consumption and distribution channel for entertainment goods such as music videos and movie trailers. In tourism research, there has been a lot of research of how the visual media such as movies and soap operas induced tourism. However, no studies have attempted to examine the role of social media as a music consumption channel and its impact on tourism. Expanding a body of media-induced tourism, we analysed the impact of video-sharing social media on music-induced tourism with a case of Korean pop music and inbound tourism to Korea. Developing a Web-crawler, we collected YouTube users' comments data on 166 Korean pop music video clips which were released from 2009 to 2012 with over 1 million view counts. Controlling many of the determinants of tourism and analysing country-by-country impact of YouTube comments with the panel data, we found that engagement of Korean pop music video clips on YouTube is a significant predictor for the flow of inbound tourists to Korea.

• 한국음향학회지
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• 제28권2호
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• pp.112-118
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• 2009

본 논문은 모바일 단말기, Digital Video Recorder (DVR) 등에 적용할 수 있는 뮤직비디오 브라우징 시스템을 위한 실시간 중요 구간 검출 알고리즘을 제안한다. 입력된 뮤직비디오는 음악 신호와 영상 신호로 분리되어 음악 신호에서는 에너지기반의 음악 특징값 최고점기반의 구조분석을 통해 음악의 후렴 구간을 포함하는 음악 하이라이트 구간을 검출하고, SVM AdaBoost 학습방식에서 생성된 모델을 이용해 음악신호를 분위기별로 자동 분류한다. 음악신호로부터 검출된 음악 하이라이트 구간과 영상신호로부터 검출된 가수, 주인공의 얼굴이 나오는 영상장면을 결합하여 최종적으로 중요구간이 결정된다. 제안된 방식을 통해 사용자는 모바일 단말기나 DVR에 저장되어 있는 다양한 뮤직비디오들을 분위기별로 선택한 후에 뮤직비디오의 30초 내외의 중요구간을 빠르게 브라우징하여 자신이 원하는 뮤직비디오를 선택할 수 있게 된다. 제안된 알고리즘의 성능을 측정하기 위해 200개의 뮤직비디오를 정해진 수동 뮤직비디오 구간과 비교하여 MOS 테스트를 실행한 결과 제안된 방식에서 검출된 중요 구간이 수동으로 정해진 구간보다 사용자 만족도 측면에서 우수한 결과를 나타내었다.

• 한국의류학회지
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• 제28권9_10호
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• pp.1231-1241
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• 2004

The purpose of this study was to investigate the musicians' body image and fashion styles portrayed in Korea and American music' video in aspects of body dimension such as sex, race, nature, and technology. The results were as follows. In aspects of sex, male musicians showed the blurring of gender appearance, while female musicians reflected sexuality which intensified the gender norms. In aspects of race, musicians pursued the racial blending appearances. In nature and technology dimension, Korea music video focused on natural imagery, while American music video showed a lot of technology imagies. And, the body combined with the nature and technology implied the post human image in the future.

• 한국의상디자인학회지
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• 제21권3호
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• pp.137-147
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• 2019

The purpose of this study, I investigate the new trend, 'new-tro', through the music video costumes of young generations, and analyze the meaning and characteristics of 'new-tro'. The research method is, select 30 music video with new-tro fashion style on the music sites, and the fashion styles were analyzed in 11 music videos checked and selected by 100 students. As a definition of the term, 'retro' refers to a phenomenon in which the past reappears in modern time, and 'new-tro' is a new retro trend, a social phenomenon that enjoys the old with a modern sense, and is a compound word of 'new' and 'retro'. 'new-tro' is a modern reinterpretation and rebirth of the past style, and 'fu-tro' is a style of coexistence between the past and the future. In the music video, fashion is a media language and cultural code, and it creates trend or new fashion, that communicates with the public, stimulating emotions. As a result of the research, the common trend phenomenon expressed in the music video costume of 'new-tro' trend which appeared in 2000s is as follows. 1. New-tro style starts with items that were famous in the past. 2. It is one of postmodern marketing using color, print and logo. 3. It spreads quickly by the influence of culture that is characteristic of the Internet and SNS world. 4. It is bottom up propagation phenomenon of street fashion. 5. It is a time game where modern people connect the past with the present. 6. "new-tro" continues to evolve for that time, based on 'retro'. New-tro, an evolutionary version of the 21st century retro wave. and it is a key to marketing effectiveness as a sympathetic elements of 1020 generations with the reproduction of memories.

• 한국멀티미디어학회논문지
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• 제10권12호
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• pp.1687-1697
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• 2007

Paik Nam-June is known as a Video Artist. Video is a presentation tool with the feature of recordability. However, it is not only a video which has been applied as an art presentation tool by him. Nevertheless, the existing researches fail to notice the aesthetic concept which is shown as the rest contents or forms, as they focus on the media features of Paik Nam-June's video. Therefore, this article aims at contemplating the art world of Paik Nam-June with its contents as 'visualization of music' and its form as 'hypermediacy' Therefore, 1. Sound is shown as the visualization of music, with the direct influence of absolute hollowness and noise of John Cage, originated from Zen Buddhism, while the foundation of it is known to be from the liberation of dissonance of Arnold Schoenberg and creative impromptu of shamanic sound. 2. The from of TVs influence of the orchestra, originated from Culture of a dining table in Korean. and indicated hypermediacy 3. Paik Nam-June indicated 'Text-interpretation' us to text analytics of 'how to read', rather than the question of 'what to tell' by intermedia as the visualization of music & hypermediacy.

• 복식
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• 제54권3호
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• pp.27-42
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• 2004

Music videos provide for many others images, alluring the audience to fall in another emotional world, while the sexual images shown in them suggest new images of man and woman. Today, men's images are being interpreted from various viewpoints. As interests in men's fashion are visualized through music video clothing, not only juveniles who want to be identified with the music video images but also adults try to imitate them, and proceed to wear the clothing, obliterating the boundary between 'reality' and 'illusion' and creating new images of men. This study is aimed at reviewing the male images shown in the music videos, particular their clothing, produced between 2000 and 2002. The results of this study could be summarized as follows : 1. Since beginning of the human history, men's image has been characterized by patriarchal system, capitalism, bourgeois class which emerged after industrial revolution and other man-dominant socio-cultural phenomena, such male image are shown in the music video as conservative and dominant image. 2. However, due to the post-modern culture, the power began to be decentralized. while feminism and men's liberation movement gain strength. As a result, women or heterosexuals began to regard men as sexual objects, and such a phenomenon is featured as sexual, bisexual or decadent images in the music videos. 3. On the threshold of the 21st century, music videos have begun to creatively describe men's life, their social conflicts, dreams and hopes and death and thereby. feature men's such images as being destroyed in view of existentialism. The numerous creative men's images interpreted in this way are featured in many music video works only to create playful, cyborg or demonic images using the senses. After all, men's images are featured in the music video costumes in diverse ways ranging from the conventional images to acquiescent images. In addition, various male images are combined with the characteristics of the music videos to be re-created anew. The young men in the our modern age tend to imitate or apply such images to create their own images or individualistic styles. All in all, men's image can be fixed no longer but diversified and fragmented in the new age.