• 만화애니메이션 연구
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• 통권3호
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• pp.28-55
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• 1999

• 정보화사회
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• 통권91호
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• pp.31-35
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• 1995

컴퓨터는 어느 틈엔가 우리의 생활 깊숙이 뿌리를 내리게 되었다. 어디를 가나 컴퓨터를 쉽게 볼 수 있으며, TV나 신문에서도 컴퓨터 관련 기사가 나오지 않는 날이 거의 없을 정도가 되었다. 컴퓨터 보급 초창기 때만 해도 컴퓨터로 작업하는 사람을 신기하게 쳐다보곤 했지만, 이제는 그러한 사람들을 더이상 신기하게 쳐다보지 않게 되었다. 그러나 컴퓨터가 우리 생활의 일부분으로 자리잡음에 따라, 그 역기능도 점점 커지고 있으며 중요한 사회 문제가 되고 있다. 이 글에서는 정보사회의 문제아로 불려지는 해커와 사이버펑크의 정의 및 부정적인 행동 양식, 이들을 만드는 사회환경, 대응 방안 등에 대해서 살펴보고자 한다.

• 한국복식학회:학술대회논문집
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• 한국복식학회 2003년도 춘계학술대회
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• pp.26-26
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• 2003

학문적 논의를 중심으로 했던 1, 2세대 페미니즘에 비해, 현대의 젊은 페미니스트들에 의해 주장되고 실행되는 3세대 페미니즘은 젊은 여성들의 분노와 쾌락을 표출하고 있으며, 특히 걸 파워는 개인주의, 독립성, 적극적 섹슈얼리티 등을 통해 여성 권력을 주장한다. 본 연구는 3세대 페미니즘을 성(도덕), 문화, 인종, 공간, 성적 소수자 관점에서 파워 페미니즘, 포스트펑크 페미니즘, 3세계 페미니즘, 사이버페미니즘, 퀴어페미니즘으로 분류하고, 3세대 페미니즘을 표현하는 매체로 대중음악의 걸 파워를 선정하여, 걸 파워 의상에 표현된 여성성과 그 미적 특성을 연구했다.

• 복식문화연구
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• 제6권2호
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• pp.55-65
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• 1998

Actually, Cyberpunk is a compound word joined by cybernetics, which was used in control theory, and punk, was symbolized as anti-culture. Today, however, the definition of the term has been extended by various fields, used in many meanings. Therefore, the purpose of this study was to apply the Cyberpunk concepts to understand today　s fashion because understanding of the present fashion is a means to interpret our culture. For this purpose, the phenomenon of Cyberpunk in fashion was subdivided into three factors material, color, and style. The results of the study were as follows : First, the materials used were techno material, special print by computer for future feeling and geometrical pattern, optical pattern to improve visual effects. Second, the colors mainly used were silver, black and white, bright color, and off-color of computer animation to present future-oriented feeling. Third, the general styles used were fit and slim, simple and liner, dualistic style to express future　s image. In conclusion, the phenomena of Cyberpunk in fashion were expressed in material, color and style of fashion. Cyberpunk fashion was evident in T-shirts, sweaters, jackets, or as items of ornamentation such as pins, pendants, belts, and earrings, etc.

• 복식문화연구
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• 제7권5호
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• pp.104-121
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• 1999

The purpose of this paper is to make sure of identity as a paradigm of new fsahion to introduce the concept of Sumulacres by J. Baudrillard, For converting to new aesthetic value. To do this, we started observing the general concept of Simulacres, and examined Cyberpunk within thinking of Simulacres and Cyberpunk fashion at virtual space, and then divided aesthetic consciousness appeared at Cyberpunk fashion centering on the concept of Simulacres into inwards sense and outwards sense. Cyberpunk is understood to be one of tendency in the cyber cultures controlled by computer and electronic technology. It is not yet defined clearly and therefore ambiguous and still being elaborated. However, the form started changing our sense sinking into overall cultures in the World, including even movie, literature, music and fashion, and giving complex, deep cultural and artistic possibilities. Also, as a subculture, Cyberpunk is building its own cultural territory in cyber space and is experiencing more real Simulacres than that of it in the ordinary life.

• 한국패션뷰티학회지
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• 제2권1호
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• pp.34-45
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• 2004

Hair styles which independently coexist by transcending the time and space under the environment of highly developed information and communication technology of recent years, were analyzed. Moreover the concerned trends of art which influenced on these styles were introduced in this study. Through IT based information exchange produced new hair styles which have the technological images. The characteristics of these hair styles are investigated also. For the examination of yearly trends, hair styles in fashion collections of Yves Saint Larent during 1962 to 1999 were examined and classified. The results show that time variated trends are appeared in this period. For the analysis of the trends of hair styles featuring technological images, hair styles in fashion collection of Christian Dior, Giorgio Armani, Gucci, Jean Paul Gaultier and Chanel in the early 2000s are quoted.

• 복식
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• 제54권2호
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• pp.66-78
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• 2004

A leather clothes which was a representative item of an existed resistant image created a new esthetics. Cyber Resistance, being mixed with the highlighted cyber image in these days. Especially. the image of such new leather clothes appears apparently in SF movies. The purpose of this study is to examine this new esthetics through the leather clothes of the movie. $\ulcorner$Matrix$\urcorner$. currently becoming the subject of a conversation and affecting to a popular culture and the fashion and to help to the design idea of a unique leather clothes. The result of analyzing of the character in the movie is following. Trinity shows herself as a woman warrior by wearing tight black leather suit. Morpheus is described as a vague character with his old fashioned suit and leather trench coat. while Niobe carries an image of rebellious cyber warrior in her leather suit with unique texture. In addition. leather clothes on $\ulcorner$Matrix$\urcorner$ got the name of Matrix look and became a main theme in fashion collection. We can feel 'Cyber Resistance' esthetics in that leather clothes through the movie and fashion collection and summarize into three following features, First. it's grafted into the dichotomous value by progress and return as a retro futurism. Second. it moderately express a rebellious image of punk into a cyber image. Third. it makes cyber warrior's image that is neutralized mixing military and fetish properly.

• 한국의상디자인학회지
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• 제7권3호
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• pp.181-188
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• 2005

This study attempted to investigate the plastic characteristics of cyber punk fashion with a focus on fashion in the cyber punk movies in order to inquire into how the influence of the cyber punk taking the lead in the spiritual culture and way of life of the humankind in the 21th century would be expressed in fashion. For this purpose, it sought to analyze the beauty of new fashion creating the cyber environment and identify its contemporary meaning. An attempt was made to investigate the image of cyber punk fashion with a focus on fashion expressed in the cyber punk movies. As a result, the following findings were obtained: First, the image of cyber punk fashion expressed in the cyber punk movies was simplicity, which was to express the modest silhouette and details exclusive of decoration. In addition to clean and smooth gloss, it contained the modest image of resistance', not 'revolt' by borrowing the partial motive and image from existing punk fashion. The change of cyber punk fashion into the characteristic of concise, smooth external appearance brought about the restraint of its image and symbolism as well as its plastic characteristic. Second, it was characterized by the Eroticism nature of emphasizing the body line while expressing the future and modest image or exposing the body. Cyber punk fashion expressed the avant-garde image by using materials that gave a mysterious and future feelings, as well as unsymmetrical silhouette, the slit of body-conscious line, coarse cutting, the method of do-constructing and reconstructing the silhouette, the method of applying diverse underwears such as corset, brassiere and the like. Third, cyber punk fashion was marked by the nature of mined sex. It had the masculine image by using the black color containing the image of masculinity and resistance in female clothing and expressing the suit, coat and military looks giving an masculine impression. And it expressed the image of mixed sexes with the masculine image in male clothing by borrowing feminine images such as body-conscious line, widely cut neckline, floral decoration, leggings and the like. Fourth, cyber punk fashion was marked by naturalness. It was expressed as clothing made from silhouette, knit, cotton and the like in the atmosphere expressing love, comfortableness and truth. This contained the image of naturalness, a return to the primitive, that human being wanted to return to their original figure in the future element. The cyber punk movie may contain a dismal, gloomy future image on the whole, which can be overcome, and shows the possibility that it may grow into the alternative culture, not the revolting culture. The movie of 'The Fifth Element' demonstrates the meaning and role that shows the bright future image. It is thought that designers should make efforts for cyber punk fashion to perform its role in changing the gloomy future image into the bright image of society

• 한국콘텐츠학회논문지
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• 제5권5호
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• pp.92-99
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• 2005

특정 문화 콘텐츠에 대한 대중적 호응의 이면에서 펼쳐지는 정치경제학과 개인의 심리학에 이르기까지의 드라마를 완전히 이해하기란 쉽지 않다. 다만 장르영화의 흥망성쇠에서도 볼 수 있듯이 대중은 영화라는 문화 콘텐츠를 통해 새로움과 진부함이 교차하는 지점, 즉 자신이 알고 있는 세계의 현존을 확인하는 동시에 그 너머의 세계에 대한 비전을 통해 삶의 의미를 재구성하고자 한다는 것은 분명하다. 본고는 이와 같은 맥락 안에서 <매트릭스> 시리즈의 서사가 제시하는 혼성적 특징을 서사와 인물, 함축적 의미의 저장고로 존재하는 종교적/철학적 질문의 측면에서 분석하고자 한다. 이러한 분석은 새로움과 진부함의 경계 사이에서 현란한 곡예를 보여줌으로써 대중성을 획득한 동시에 SF 영화의 담론을 활성화시킨 <매트릭스> 시리즈의 전략을 이해할 수 있는 하나의 방안이 될 것이다.

• 한국콘텐츠학회논문지
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• 제7권4호
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• pp.150-159
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• 2007

우리의 세계가 점점 더 똑똑해지고 우리를 점점 더 잘 알아 갈수록 어디가 세계의 끝이고 어디에서 자아가 시작되는지 분간하기 어려워진다는 앤디 클라크의 지적은 디지털 시대를 살아가는 우리에게 매우 의미 심장하다. 거대한 테크놀로지의 힘이 노아의 방주처럼 지구를 휩쓸고 있는 현대에 인간들은 역사상 유례 없는 새로운 환경, 새로운 인간신체들 속에서 파편화되어 다양한 방향으로 표류하고 있다. 그럼에도 현대를 가늠하게 하는 몇 가지 특징들을 살펴 볼 수 있는데 본 논문은 이 특징들을 금단을 향한 인간 욕망과 테크놀로지가 낳은 사생아인 사이보그라는 코드를 통해 접근해 보고자 한다. 경계 해체와 혼종, 변형, 융합, 이미지 커뮤니케이션 디지털적 감수성과 사고방식, 여성성 등과 같은 특성들은 현대에 와서 기계와 인간의 흔종이란 협의의 의미를 넘어 디지털 세상의 다양한 성격들을 지칭하는 광의의 의미로 확장되고 있는 사이보그 특성들과 공명한다. 디지털 시대에 가장 각광받고 있는 매체 중 하나인 애니메이션을 통해 현대 사이보그의 역사를 추적하고 이러한 사이보그 개념의 확장을 촉발, 담론화 시킨 오시이 마모루의 사이버펑크 애니메이션 <공각기동대>와 <이노센스>의 작품분석들 통해 그 특성들을 확인해 볼 것이다. 후속 작업을 통해 본 논문의 문제제기가 현대라는 시대와 현대인들이 각자 삶의 현주소를 진단하는 하나의 계기로 나아갈 수 있으리라 기대해 본다.