• 한국콘텐츠학회논문지
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• 제10권10호
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• pp.152-160
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• 2010

근대만화의 출발점은 만화의 기본적인 형태 즉, 글과 그림의 완전한 결합 형태로 풍자화의 전통에서 출발했으며, 동아시아 3개국은 근대미술과 서양의 새로운 서구의 만화형식인 카툰과의 결합을 통해 '만화'라는 매체가 본격적으로 자리 잡기 시작했다. 각 나라에 사정에 맞게 진화된 근대만화는 초기 체제와 외세, 그리고 내부 부패에 관한 풍자로부터 점차 일반 민중의 계몽의 수단으로 발전해 왔다. 그러나 체제비판은 탄압으로 이어졌고 근대 동아시아를 둘러싼 제국주의의 발호로 이들 나라의 근대만화는 모두 체제선전, 전쟁참여, 식민찬양 등의 과정을 겪어야만 했다. 세계만화의 큰 부분을 근대에서 현재에 이르기까지 상당부분을 과점하고 있는 동아시아의 만화의 토대가 바로 근대만화에서부터 출발하고 있으며, 따라서 근대 동아시아 만화가 가지는 특징들은 그런 의미에서 매우 의미가 크다 하겠다.

• 한국콘텐츠학회논문지
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• 제20권9호
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• pp.224-237
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• 2020

본 연구는 유튜브 정치·시사 채널의 이용 동기와 정치사회화에 관한 연구이다. 유튜브 정치·시사 채널의 정치 정보 습득을 이용과 충족 이론의 관점에서 살펴보았고, 이후 정치사회화의 인지-태도-행동 변인들에 미치는 영향을 살펴보았다. 서울에 거주하는 20~50대 성인 남녀를 대상으로 정량 온라인조사를 진행하였다. 유튜브 정치·시사 채널의 이용 동기로는 '정치풍자의 오락성', '심리적 안정', '매체 편리성', '정보 추구'의 4개 요인이 관찰되었다. 정치사회화에 미치는 영향은 경로 분석을 진행하여 검증하였다. 유튜브 이용 동기 중 '매체 편리성'과 '정보 추구' 동기가 정치 지식 습득에 긍정적 영향을 미쳤다. 그리고 정치 지식은 정치 관심과 정치효능감 증가에 유의미한 영향을 미쳤다. 정치 관심은 정치효능감 증가에 영향을 미쳤고, 정치효능감은 정치 참여에 긍정적 영향을 미치는 것으로 나타났다. 도출된 연구결과를 바탕으로 본 연구의 이론적 함의와 실무적 함의를 각각 토론하였다.

• 복식
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• 제61권2호
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• pp.20-31
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• 2011

Decentralization is an effort to liberalize people from its character of neutralizing or restraining people while indwelling in the previous thought system. Decentralization in fashion is one of the phenomenon of post-modernism fashion, and it is closely related to de-culturalism, crossover, abolition of rank, and etc, and it is in line with Asian look which includes orientalism fashion. The study intends to consider the Phenomenon of Decentralization of Asian Look and its Method depicted in the western fashion. The study focuses on documentary data, and the it is held with the basis of Asian look shown in western fashion. If ideology which influenced the formation of folk costume of Asia, Asian look is the dissolution of such ideology, and post-modern amusement is substituting it. The most conspicuous characteristic of decentralization phenomena of Asian look is pastiche which is a combination and reallocation of external style of many cultural zones and many folk costumes, and it shows mutual irrelevance, and it is a neutral imitation which has internal meaning and humor disappeared. Also, Asian look shows characteristics of parody and irony, which are reversal characteristics of aesthetic value which is expressed through methods of addition, modification, distortion, exaggeration, inversion, dissolution, and etc. Parody which is expressed through imitation regarding previous style shows effect of humor or satire, but its characteristics show that it expresses respect or admiration regarding the original The method of irony is showing sarcasm with ironical method regarding the peculiar style of Asian folk costume, and it pursues unexpected shock and joy, and it is closely related to orientalism fashion. Expansion and constancy of Asian look reflects the interest regarding folk of Asia and Asia, and it is a movement which intends new attempt by abolishing stereotype, and furthermore, it is expressing liberty of humans.

• 한국콘텐츠학회논문지
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• 제11권1호
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• pp.165-175
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• 2011

본 연구는 전통연희에 대한 공연인류학적 접근을 통하여 새로운 연극 콘텐츠 창출 가능성을 고찰하는데 그 목적이 있다. 오늘날 전승되고 있는 전통연희는 역사적으로 악 희 극의 갈래로 변천, 발전되어 온 전통공연예술이다. 그 중에서도 중요무형문화재 제18호인 동래야류는 부산시 동래 지역에서 전승되어 오는 전통 탈놀음으로 악 희 극의 공연특성이 통합된 형태로 연희되고 있다. 21세기의 한국연극은 포스터 모더니즘 문화현상을 거친 후 다시 리얼리즘으로 회귀하고 있는 것으로 보인다. 그런 반면 대안연극에 대한 관심도 더욱 고조되고 있다. 따라서 본고에서는 그 대안으로 새로운 연극형식 창조의 영감을 전통연희의 공연성에서 탐색하고자 한다. 전통연희 중에서도 전통공연미학인 악 희 극의 특징이 잘 조화되어 전승되고 있는 동래야류로부터 원초적인 공연성의 본질과 원리를 밝혀내어 새로운 연극형식 및 연극 텍스트를 창출하는 모티프로 활용하고자 한다. 동래야류에서 나타나고 있는 신명풀이에 바탕을 둔 악 희 극의 요소들, 즉 향토적인 음악과 세련된 춤사위, 해학과 풍자와 기지, 양식화되고 약호화된 연극형식의 무대적 수용으로 새로운 연극 콘텐츠의 창출 가능성을 모색하고자 한다.

• 한국콘텐츠학회논문지
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• 제16권4호
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• pp.503-515
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• 2016

브랜드 스토리텔링을 보여주는 다양한 광고를 포괄한 개념이 브랜디드 콘텐츠다. 새로 생겨난 모바일 음식 배달 어플리케이션 시장에서 업체들은 브랜디드 콘텐츠를 적극적으로 사용하여 도입기에는 낯선 서비스를 친숙하게 만들고, 정교화기에는 경쟁 업체에 비해 독특한 브랜드 이미지를 구축하려 하는 양상을 보였다. 본 연구는 '배달통', '배달의 민족', '요기요' 등 가장 대표적인 세 업체의 브랜디드 콘텐츠를 대상으로, 시기별로 달라진 브랜드 스토리텔링의 유형을 나누고 구조를 분석하여 그 전략을 드러내고자 하였다. 서사를 표현하는 양식에 따라 각기 다른 정서적 효과를 거두게 됨에도 불구하고 아직까지 브랜드 스토리텔링의 유형 및 구조를 고찰한 연구는 별로 없다. 본문에서는 노드롭 프라이의 서사 유형론을 빌려와, 브랜드가 하는 역할을 가지고 그 유형을 로맨스, 희극, 비극, 아이러니와 풍자로 나누었다. 그리고 이를 세 업체의 브랜디드 콘텐츠에 적용하여 그 유형을 분석하고 시기별로 달라진 전략까지 살펴보았다. 고전적인 로맨스 서사 유형을 넘어 다양한 서사적 유형은 시장 진입 시기를 극복하고 브랜드 포지셔닝을 하는데 효과를 거두고 있다. 본 연구가 앞으로 브랜디드 콘텐츠의 서사 전략을 연구하는데 도움이 되기를 기대한다.

• 한국생활과학회지
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• 제9권3호
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• pp.371-382
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• 2000

Fashion, a means of communication, is the symbol conveying the social information and the individual identity. The opulence of material and the development of civilization make the sign of fashion variable and individual; especially, The importance of hair style among the today's sign of fashion, as a determinant element in judging each person's look is emphasized. Kitsch, based on the variety and the individuality is the manner of art in diverse hobbies. In addition, it enlarges the sphere of modern an, creates new open aesthetic world. Therefore, we need to understand the symbol of Kitsch aestetic represented in hair style, which is meaningful. The method of this study is quality analysis by means of semiology, aesthetics, Fashion artical, magazine, atc. To support this statement, we will study the form, a primary symbol, and the ideology, a secondly one in $\ulcorner$Mythologies$\lrcorner$ of Roland Bartes(1972). Then by means of the form and the ideology, we will try to recognize the myth, an essential symbol. The result of this study is following like these three points. First, the Kitsch patterns of representation in hair style use the accumulation by an excessive ornamentation; the inappropriateness by the lack of form, the disagreement, the unbalance, and the nonfunctional form; and finally, the amusement by the reconstruction, the exotic, and the satire. The above three is true to the Barthes's primary symbol-the form. Second, the anti-traditionality(including the lack of form, the disagreement, and the unbalance), the homesickness(including the reconstruction and the exotic), and the eclecticism(including the parody and the mixed imitation) are created as the ideology of the liberal artistic notion, different from the past outlooks on aesthetic. This is true to the Barthes's secondly symbol-the ideology. Third, the form and the ideology enable us to express our own thoughts and to recover the humanity, which is the primary purpose of Kitsch aesthetic. The Kitsch hair style, as we witness, does lead the varied and liberal aesthetic world, create its accessible value, and place the art of hair style in a higher status.

• 복식
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• 제50권3호
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• pp.13-30
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• 2000

The purpose of this study was to analyzed the types of Deformation dipicted on the late 1990s western costumes. The late 20th century cultural experience or lifestyle is interpreted with 'popular culture' ,popular culture is described as cultural phenomenon in postmodern condition. Contemporary popular culture may no longer be strictly 'working-class' as the idealistic purists of political formalism would like to , but does emerge from subordinate cultures, from the inventive edges of the consensus, and from the previously ignored and suppressed. It gestured through a widening democratization of styles, sounds and images, to an important remarking , to new possibilities , new perpectives, new projects. The growing importance of popular culture as a source for change of expression in the art, expecially new desire and will of artists has been caused lots of ' Deformation' in their works. Deformation, doesn't mean to represent object faithfully as it were seen through the artist's eyes. In a sense it implies that artists deform it with conscious or unconscious form. So in this study , the phenomenon of the postmodern western costumes is to describe ' formative language' called 'Deformation.' and it is classified three types, that is, 'Deformation of human-body image.' , Deformation of silhouette.' 'Deformation of detail.'. First , Deformation of human-body image is represented by deconstructive , subversive image in western costumes, a lot of costumes types of deconstruction have been shown by fashion designers are emphasized empathy with Deformation of human-body image. Second, Deformation of silhouette is also represented subversion of traditional manner and ultiity, underwear and outwear structure and ugly image. parody image of postumodernism , and so on. Above all, the late 1990s western costumes with Deformation of silhouette was an infinitely larger and more complex world than it appeared from outside and has expressed as a rejection against the values which traditional aesthetic concept had pursued, And parody through the change of internal meaning is to bring about parodox, irony, contempt, satire , unexpectedness by applying the original to inapproporate subject through its substition, inversion. Third, Deformation of detail is represented overdecoration, exaggerative distortion of for , overlapping and fetish image, parody image, kitsch image, and so on , Once fetish achieve a certain' style factor' among trendsettler, they are picked up by internationally famous fashion designers, The characteristics of kitsch are overdecoration , unfitness , imitation , used western costumes.

• 한국의류학회지
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• 제40권1호
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• pp.56-68
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• 2016

Popular culture has symbolic meaning and has been constructed through different mass media. Newspapers played a significant role in 1950s and 1960s public culture. In particular, editorial cartoons in newspapers expressed social aspects of the age implicitly through satire and criticism. This study examines delivered culture by reflecting the past social aspects and inquiring on clothing featured in the editorial cartoon "Gobau". As for a research method, literature research was conducted on clothing of the age with a review of "Gobau". As for a research range, examination was done based on the complete works of Gobau composed of 5 volumes published as a first edition by Hankookmunhwasa on November, 1973. Early "Gobau" cartoons from 1951-1963 were published in 5 volumes; therefore, research was conducted for the era from 1950s to the early 1960s. Clothing expressed in "Gobau" were reviewed, classified into formative characteristics and internal meaning. Internal meaning was examined by dividing into the expression of social aspects and criticism of society. The research findings are as follows. First, clothing in "Gobau" reflected characteristic in direct manner. There was a coexistence of Hanbok and western-styled, clear distinction between men's trousers and women's skirt. Besides, various kinds of women's western-styled dress appeared in the 1960s. Second, they showed the dress culture that reflected past social aspects. Many aspects were included to reconstruct old and worn clothes due to scarce resources after the Korean War, and cherishing clothes, buying fabric directly to making clothes, making clothes from dressmaking shop, and restrictions on imported goods and luxury items. Third, the study also examined the social norms for fashion. It contained negative perspectives on women wearing pants, short skirts, and new hair styles (like perms) from western culture as well as lipstick.

• 자연과학논문집
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• 제8권2호
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• pp.237-255
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• 1996

패러디는 선행하는 친밀한 소재가 패러디스트에 의해 모방되면서 시작된다. 이 때 사용되는 기법은 모방, 유사, 변형, 과장, 아이러니, 파라독스등 다양하며 패러디스트의 의도와 능력에 따라 여러 가지 기법으로 풍자, 조롱, 경명, 의외성, 우스꽝스러움, 존경, 경외심 등과 또 이 모든것이 혼합된 어떤 효과를 주어 선행양식과 다른 비평적 거리가 있는 반복으로서 새롭게 창조 되는 것이다. 또한 패러디는 포스트모더니즘적 특징을 다분히 내포하고 있으므로 포스트모더니즘적 미의식이 팽배해진 화경에서 효과적인 표현양식으로 널리 사용되어지며 그 요구 또한 급증한다. 예술의 한 장르로서 복식에서도 패러디 기법은 역사적 입장으로서 과거를 비판적으로 재구성하여 새로운 복식을 창조하는 한 형식으로 널리 사용되고 있다.

• 복식
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• 제63권6호
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• pp.14-28
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• 2013

This study aims to identify the elements of black culture and use it to analyze the formative characteristics of casual fashion items as well as the symbolic meanings presented in the graphic designs of the items. First of all, in order to distinguish the identity of black culture, this study made a division into racial, social, and artistic aspects based on cultural specificities of Stuart Hall, a culture theorist. This was for a theoretical review and based on this review, a theoretical framework was developed to analyze the characteristics of American casual fashion design of black people. The case study selected 1719 fashion images of 137 male brands and 33 female brands from websites of companies manufacturing casual wear of black people in America. The following is a summary of the study results. The conceptual characteristics based on specificities of black culture can be categorized into ten attributes: playfulness in order to digest human grief and emotion positively, satire of the mainstream society, spontaneity through emotional expression from the heart, abstractness of various emotions elating suffering, humor trying to express negative aspects as the meaning of light and innocent laughter, dependence with passive attitudes toward discrimination and master-slave relationships in history, resistance against discrimination and disadvantages, African orientation and primitiveness pursuing natural conditions, aggressiveness against violence and unfair treatment, and confidence and defiance against social deprivation and corruption. Based on the results of an analysis through formative classification system founded on racial, social, and artistic aspects of black people, specificities of black culture are of formative characteristics of their casual fashion design. These elements are presented on graphic t-shirts through strong colors, loose silhouette, and details with many pockets. These characteristics were reflected in symbolic meanings presented in the graphic.