• International Journal of Internet, Broadcasting and Communication
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• v.13 no.2
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• pp.195-207
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• 2021

In recent years, with the rapid growth of China's animation industry, the two-dimensional culture and consumption have been immersed in the daily lives of young people. The two-dimensional culture that mainly exists on young people is gradually entering the public's field of vision, making the two-dimensional culture not It is only restricted to the fixed fan circle, but is known to more people outside the circle. At the same time, the "barrage" (screen text) cultures in video websites has become popular with some film and television works, Internet terms, etc., and has attracted the attention on mainstream culture. On the one hand, its cultural products have appeared on traditional mainstream video websites and advertisements on provincial satellite TV. And in the program, on the other hand, a small part of the screen text and cultural terms are also used by some celebrities and other ordinary people who don't understand the meaning of the terms at all, and have caused widespread dissemination. Sometimes the video website itself is also mentioned, which obviously shows a difference. The tendency towards a kind of screen texts subculture to penetrate the mainstream culture.

• Journal of Korea Multimedia Society
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• v.24 no.9
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• pp.1285-1298
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• 2021

Among the diverse apartment brand TV Ads, KCC Switzen uses a unique advertising strategy. Unlike their competitors, KCC Switzen uses a strategy without fancy rhetoric such as luxury, premium or high-tech to enhance the value of their housing. In order to define the value of contemporary housing this paper analyses the socio-cultural messaging of KCC Switzen's television advertisements using Qualitative content analysis and Floch's Semiotic Square of Consumption Values method. As a result of this analysis, KCC Switzen's advertisements are shown to contain both intrinsic values of housing and cultural humanism by asking ablout the daily lives of real families and their relationships with neighbors. This directly contrasts with the standard advertisements that focus on the investment value of residential housing. The unique KCC Switzen advertising strategies are expected to change the paradigm of residential housing.

• Journal of Fashion Business
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• v.22 no.4
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• pp.76-92
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• 2018

The purpose of this study is to find the meaning of women's fashion in the city culture of Paris in the nineteenth century by examining paintings by the Impressionists. The research method was based on literature survey and visual examination paintings, 224 paintings(by ${\acute{E}}douard$ Manet, James Tissot, Edgar DeGas, Gustave Cailleboat, Jean $B{\acute{e}}raud$, Pierre-Auguste Renoir) were analyzed in this study. The results are as follows: In the nineteenth century, Paris was a new city with new department stores. Department stores were centers of consumer culture, where the power of capital appeared rather than class. The spatial backgrounds of Impressionist paintings were places where they could see the consumption and leisure culture of urban people, such as outdoor parks, cafes, theaters, ballrooms, bars, streets, and the boats. As for the characteristics of women's fashion in paintings, it was found that various changes of artificial silhouettes were developed. Various frills, ruffles, gatherings, and pleats were thought to have been made by machines. In the urban space, many of the women's costumes stood out because of the black color. Not only the black color came to represent widows and mourning but the black outfits worn by women enhanced their sensual appearances. Women's fashion expressed in Impressionist paintings eventually contained a modern meaning that changed from 'class symbol' to 'expression of taste'. And the symbol of consumer and leisure culture showed, and a Demimonde's fashion became a trendsetter, and painters were used as an important element expressing modernity.

• Journal of Digital Convergence
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• v.11 no.12
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• pp.387-392
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• 2013

The purpose of this study investigate the main factors of the diffusion of digital contents and consumer's participation behavior, consumption culture and examine the experiential perspective to consumer's information selection behavior. In digital network, the social presence, challenge, self-presentation, arousal and emotional feeling were significant variables to flow experience. Experiential perspectives focused on the search of identity and self-determination were main basic perspective to explain the diffusion of digital contents, consumer participation. This research result applied to media and device strategy to up-coming digital convergence and adapted to product planning and development, user friendly navigation and emotional human-centered service module.

• Journal of the Korean Society of Fashion and Beauty
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• v.3 no.1 s.4
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• pp.39-49
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• 2005

The purpose of this study is to analyze the consumption value and characteristic of content in cosmetics & perfume advertisement in men's fashion magazines in order to understand the changes of men's cosmetics market which is recently getting great attention along with the craze for 'florally handsome men', and 'eolzzang'(=gorgeous face), and examine the changes of the culture of men's make-up. I selected Esquire which had firstly produced men's fashion magazine in Korea, and implemented the content analysis, the quantitative analysis method, by separating linguistic elements ken visual elements. The results are as follows: In the analysis of consumption value revealed in the linguistic elements of cosmetics advertisement, emotion value was the highest in both cosmetics and perfume, while function value was the second highest in cosmetics and rarity value was the second highest in perfume. About the changes of content characteristics of visual elements, in both cosmetics and perfume advertisement, there were a lot of visual advertisements focused on figures without the mixture of linguistic expressions. Between advertisement in 1990s and that in 2000s, there were meaningful differences only in types and object of meaning of used symbols.

• Journal of the Korean Society of Costume
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• v.50
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• pp.97-118
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• 2000

The purposes of the present research were (1) to investigate the sociological factors influencing the increase of ambivalence and the relationship between, the ambivalence and fashion change(2) to categorize sets of the ambivalence expressed for contemporary fashion and (3) to examine the frequency and the patterns of ambivalence presented for contemporary fashion. This research was conducted through in depth literature review and content analysis. Data was collected from 806 colored pictures presented on 'Collections' from 1972 to 1988. Eight types of clothing cues were incluede: look color texture decorative motifs of clothing collar sleeve and wearer's headdress/hair style and make-up. The results of this study were as follows: 1 The popularization of culture has been accelerated by mass production mass consumption and mass media. Since the 1980s postmodernism and poststructuralism have resulted in the breakdown of dualistic distinction. As the ambiguity of meaning in appearance increases the meaning is negotiated constantly for identity. 2. The most frequenctly expressed ambivalence in clothing was feminity/masculinity and tradition/modernity and wealth/poverty was the least. The number of ambivalent expression were the highest during 1990s. The rapid growth in ambivalence of tradition/modernity was found in 1970s feminity/masculinity in 1980s and modesty/immodesty in 1990s. Within a clothing style ambivalence was manifested through feminine look in white for beauty/ugliness feminine look mainly in yellow/red for wealty/poverty sexy look dominantly in black for modesty/immodesty androgynous look in black for feminity/masculinity and through ecology look most frequently in black for tradition/modernity.

• Journal of The Korean Association For Science Education
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• v.44 no.3
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• pp.273-299
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• 2024

This is a qualitative research study in which three families focused on scientific culture and conducted the process of forming a family fandom using ethnography. The ultimate goal of science education is the "cultivation of scientifically literate persons.", The researcher examines families who regularly participate in informal science educational programs, such as those offered by the National Marine Biodiversity Institute of Korea, to understand the cultural ans sociological significance of these activities as part of their daily routines. This study analyzes and summarizes the experiences of three families in different home environments as to the completion of the family fandom through the process of self-sustaining cultural practice formation through family education activities, and science activities. This study found that the process tword completion is more meaningful than the completion itself, in the context of science, culture, family and fandom. The findings of this study are as follows: 1) The process of forming a family fandom began with the individual purpose of each family member. 2) The process of fandom formation was created in an organic relationship through the interaction between parents and children, and the self-sustaining cultural practice strengthened the bond and expanded the consensus on scientific culture. 3) Parents and children together share scientific culture, and unique culture in the form of sharing in their own cultural life as becoming scientifically literate people. The self-sustaining cultural practice of selecting and enjoying these scientific activities is not simple consumption of popular culture, but the role of parents as cultural designers. This has conducted experiential consumption as "refined (or sophisticated) cultural consumers," and family leisure activities as meaning production of family members so it has social and cultural implications that can be developed into a scientific culture.

• Cross-Cultural Studies
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• v.21
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• pp.113-138
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• 2010

This writing verifies ideology producing unethical stratification or discrimination targeting on Grandeur's TV commercial after 2008. And attempts to point out the utopia desired by those commercials reproduces distorted ideology at Korean society. To achieve this, the analysis model was postulated utilizing narratology and semiotics system in application of methodology. The result of discussion, is that the 2008 'Grandeur New Luxury' commercial can have utilized the inflected patriotism and sexual fantasies as the core strategy of storytelling. The fact trebly othering women's body from the point of view of gender ethics can be pointed out as the biggest problem in this commercial. 2009 'Grandeur New Luxury' frankly stimulates costumer's desire of stratum rise and possessiveness, circulating the logic 'owning a vehicle' is a proof of their existence. Also considering the meaning woman narration takes up in corresponding commercial, criticism utilizing feminine signifier as a tool to reinforce male success legend was available. Finally 2010 'The Luxury Grandeur' commercial was able to make a judgement using the mechanism of present consumption culture cleverly which Baudrilliard and Althusser has critically recognized. Because commercial images precisely utilizes the mistake called the 'phantasme-$m{\acute{e}}connaissance$' or the 'reconnaissance-$m{\acute{e}}connaissance$' that consumers easily make. Reminding TV commercials exerts control power against unspecified many sitting in front of the TV, continuous studies with same interest are needed in the future. This writing will be able to have a meaning as attempting narratological methodology for analyzing the storytelling of car TV commercials. But systemizing the criticism about the commercial as a single narrative with going through theoretical supplementation is being respected in the future.

• Human Ecology Research
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• v.57 no.3
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• pp.395-406
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• 2019

This study examined what meaning East Asian women showed in their costume history through a discourse of hair adornments such as wigs and that Gache was not just a luxury decoration. In addition, we examined Gache hair trends with Eonjeun-meori (braid wraps around the entire head) in the Joseon dynasty (Korea), Gigye(旗?) hair in the Quing dynasty (China) and Mage(?) hair in the Edo period (Japan) during the $18^{th}$ and $19^{th}$ centuries. The significance of the phenomenon of East Asian Gache culture in the $18^{th}$ and $19^{th}$ centuries was analyzed from the internal desires of women. The details are as follows. First, the magnification by the hair decoration was identified with self-authority and used as a sign to express self-respect or a desire for self-esteem. The extended Gache was an external body extension to raise self-authority and increase activeness. Second, self-satisfaction through showing off was associated with a women's search for identity. There was excessive consumption to boast status, wealth and femininity, but the mania continued because women obtained psychological satisfaction by feeling that their sacrifices for the Confucian order were compensated. Third, the frenzy of Gache was accepted as a way for women to resist social regulations and find themselves as main participants in social activities. Showing their appearance in East Asian Gache culture was a way of inner self-searching and a process for women to find themselves as a social entity.

• The Journal of the Korea Contents Association
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• v.12 no.1
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• pp.125-137
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• 2012

In this paper we draw from recent theoretical discussions of fan culture and the new media technologies to explore how online communities contribute to new forms of K-pop fandom. We suggest that these online sites play an important role in setting the new stage of dissemination and dialogue of K-pop knowledge, through which particular forms and spaces of online fan culture are being created and sustained. Moreover, these web-based communities challenge the existing concepts that have embraced interrelations between culture, consumption and technology. Based on an empirical study of YouTube, carried out using netnographic methods, this study tackles the following questions: how fans construct themselves as Korean pop fans through the online activities; how they exchange information and opinions of Korean stars; and, what meaning they extract from online file-sharing activities.