• 주택과사람들
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• s.219
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• pp.24-24
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• 2008

신화를 창조하는 세계 최고 사진 에이전시 매그넘 포토스(Magnum Photos)소속 사진작가들이 2006년 10월부터 1년여 동안 대한민국을 촬영했다. 매그넘 작가 20명이 건국 60돌을 맞은 한국의 현재 모습을 저마다의 시각으로 담아낸 2400여 장의 사진 중에서 엄선한 작품만을 선보이는 이번 사진전은 예술의전당 한가람미술관에서 8월 24일까지 계속된다.

• The Korean Publising Journal, Monthly
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• s.338
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• pp.158-160
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• 2004

• Cross-Cultural Studies
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• v.25
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• pp.35-54
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• 2011

Magnum Korea, a 2008 exhibit at the Hangaram Art Museum in the Seoul Arts Center, introduced representative images of Korea to commemorate the 60th year of the founding of the nation. Twenty photographers of various backgrounds participated in Magnum Korea. This study focuses on one of the exhibited photographers, the French photographer Bruno Barbey. Born in Morocco, Barbey occupies a special position in today's modern photography not to mention in the Magnum group of traditional medium of photography. His photographic world is affiliated with the humanism of Robert Diosneau, particularly as his photographic medium is based on communication and code. Among the photographs in the Magnum Korea collection, Barbey's photographs can be organized into six different subjects: industrial structures in nature, industrial buildings, traditional relics of culture, terminals, markets and restaurants, and daily life. This paper takes special interest in Barbey's unique perspective on Korea's traditional cultural assets focusing on 'Seoul, Jogyesa'. What is the uniqueness of our culture as contained in Barbey's works? In other words, how did he capture the special characteristics of our culture that are often overlooked or ignored because they are so familiar to us? A semiotic approach is used to discover what common but special situations and realities of Korea attracted this photographer and how he managed to capture them in his photographs.

• The Journal of the Korea Contents Association
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• v.22 no.6
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• pp.160-174
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• 2022

This research analyzed military journalist activities and key photos of Werner Bischof, the military journalist during Korean war. Werner Bischof entered Korea twice in 1951 and 1952 for military journals. Through Korean war pictures, essay, multiple letters and photobooks, I shed a light on the background of his military journals and activities, and analyzed topics and characteristics based on key photos that he took during his first and second military journalist activities. Bischof created a work centered on 'Human'. Especially, he has this consciousness of 'What happens to civilians in war-ridden area?'. Bischof took civilians in Sanyangri in his camera to announce pain of civilians and tragedy of war coming from war during his first military journalist activity. During his second military journalist activity, he critiqued ideological brainwashing, life of prisoners of war in a humanist point of view. The latter showed characteristics of clear contrast of black and white, image arrangement based on characters, and outstanding photo views. His military journal activity is in search of civilian suffering, and humanism in Korean war. This consciousness crosses through generation over generation that cannot be compared to other military journalists.