• 한국복식학회:학술대회논문집
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• 한국복식학회 2004년도 International Costume Conference in Association with ICOM 2004 SEOUL
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• pp.160-161
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• 2004

• 한국복식학회:학술대회논문집
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• 한국복식학회 2004년도 International Costume Conference in Association with ICOM 2004 SEOUL
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• pp.80-81
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• 2004

• 한국생활과학회:학술대회논문집
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• 한국생활과학회 2010년도 하계학술대회
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• pp.139-140
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• 2010

• 복식
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• 제61권9호
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• pp.60-73
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• 2011

The movie costumes, artistic and figurative, serve to maximize the dramatic conveying effect of the movie's theme, actor's character, and the image of a dramatic situation expressed through clothing. It is considered that research would be meaningful if it studied on how the movie costumes are implied with symbols in order to present a dramatic image depending on the situation. Therefore this research compared, analyzed, and interpreted the historical plays produced on historical backgrounds, "The Sword With No Name" and 'Elizabeth - Golden Age'. In other words, five dramatic situations were extracted in order to compare and analyze the costumes of Empress Myeongseong to the costumes of Queen Elizabeth. The costumes presented according to the storyline and the personalities of the two characters with these five as the basis are compared and analyzed, and the implied symbolic meaning could be interpreted and analogized based on the results. Therefore it is suggested that symbolic meaning, along with the expression of the dramatic atmosphere, needs to be implied in the design of the movie costumes.

• 복식문화연구
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• 제17권4호
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• pp.583-599
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• 2009

The purpose of this study is to analyze movie costume of main character and find design characteristic and historical spirit focusing on the movie, in which Ishioka Eiko, Japanese movie costume designer constructing unique design world, participated. The study captured images of three movies such as , and with Digital Multimedia Converting System and analyzed them by focusing on the pictures showing designer's intention and design characteristic well among acquired 319 pictures. The costumes addressing movie costume designer's sense of values are recreated as future-oriented new works and are expressed as creative costumes by acquiring inspiration from past factors, dissolving them and applying up-to-date technology. Movie costume shall reflect historical spirit of our age as movie shows social cultural trend including fashion trend of manufactured age. Ishioka Eiko has searched for the design, which is proper for three principles such as 'be unique', 'be eternal' and 'be innovative' and from the result of analyzing movie costume, it is found that she showed characteristics of symbolism(transmission of the sensitivity), ornamentalism(effective representation as a decorative effect attention) and multiculturalism(harmony of time and culture) as well as uniqueness. The movie costume are different mutually and create new hybrid culture, in which different costume cultures are mixed with current costumes without the restriction to other culture. It is proper for the age of globalization and localization so it is expected that the multiculturalism will be enlarged more.

• 패션비즈니스
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• 제24권3호
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• pp.1-16
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• 2020

The purpose of this study is to find the aesthetic characteristics of costume design as mise-en-scène in movie 'The Danish Girl'. the methods of this study was carried out prior research, literature studies and qualitative research of visual content analysis by DVD. The spatial and temporal scope of the study is Copenhagen, Denmark from 1926 to 1931, and Paris, France. The styles of the times(1925 ~ 1931) and the spatial sensibilities of women's costumes in terms of form and color were examined thorough out the story. As the results, the costume are based on the 1920's Art Deco style like straight silhouette and some of them are oval soft silhouette. The colors are harmonized or in conflict based on Nordic colors such as blue-green, gray and yellow. Rather than expressing the internal conflict between the two main characters, the costume was focused on the role and character. And also exotic tastes like Japanese and Egyptian textiles patterns and decorations. Therefore, it was found that the movie costume played a role as one of the very important mise-en-scène.

• 한국의류학회지
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• 제44권5호
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• pp.856-877
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• 2020

This study examines how class differences are expressed through costumes based on the costumes of characters in Bong Joon-Ho's film . Based on Video on Demand (VOD), the main situations in which characters' costumes change in the play were captured and used as analysis data. Colors, textures, and color symbol were analyzed to find the formative properties shown in the characters' costumes. The results are as follows. The home wear of Kim's family were unsuitable for the top and bottom, faded clothes, and the vague boundary between outdoor and indoor clothes appeared. In comparison, Park's family's home wear was featured a modern and elegant design, a clear distinction that suited purpose and situation. Analysis of street wear showed that the Kim's family had a big difference before and after getting a job, and Park's family wore different costumes for the purpose of going out. Social class expressed in the film costumes were shown to have the characteristics of intrinsic class invariance, temporary class changes, differences in class expression by age, and differences in costume choice by class.

• 복식
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• 제59권1호
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• pp.106-118
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• 2009

This research is about the changes in the images of Bond and Bond Girl in '007' Series. And it examined through the social background of England from 1960s to 2000s and the costume in the film. The results were as follows: As the era of young fashion was opened after 1960, there was a big change, but Bond was expressed as a hero who had strong male chauvinism of the English aristocratic circles. However, after 1990s, he wore comfortable clothes and he underwent all sorts of hardships. On the other hand, Bond Girl had the image of a sexual target. However, after 1990s, she had sharp appearance and smart brain. Besides, she had professional ideas of a given work and she was changed into a healthy image. Second, Bond's job was an English secrete agent, but Bond Girl had no particular job in 1960s. In 1980s, various professional jobs appeared and in 1990s and 2000s, the professional job which was directly related with Bond's duties appeared. Third, Bond's upper class image was expressed by tuxedo, suit, black, gray, navy, beige, brown, and ivory. His hair was 2:8 parting or Dandy all black style produced his dignified and neat image. After 1990s, he often had casual dress, which created a comfortable image. Bond Girl was expressed feminine style by bikini, underwear, long dress, sky-blue, violet, black, simple costume. After 1990s, she wore a suite, one-piece, or a combat uniform, which showed her professionalism. especially Bond Girl's red dress was used as a psychological color to express temptation, enemy, and betray.

• 복식
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• 제57권10호
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• pp.112-128
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• 2007

As fantasy films in which super heroes with superhuman abilities play an active part are rapidly becoming more popular, super hero stories are taking root as a new genre in fantasy films. The costumes in films play an important role in visualizing the virtual reality of fantasy films when those costumes are worn by characters so as to express and define them. In the meantime, in the antagonistic structure of good versus evil as a typical subject in these films, it may be said that the costumes of super heroes who advocate good and those of villains who represent evil have been created as an image of power. In this sense, it is necessary to establish an analytic system of how images of the power of good and evil are visually created in costumes for fantasy films. As such, this study seeks to analyze costumes in fantasy films more systemically through semiotic, which has taken root as a science of analysis in all areas of science. From the perspectives of aesthetic semiotic developed by Morris and costume aesthetics, the syntactical dimension is analyzed into formative elements and the principles of costumes; factual and expressive meanings, themes, and inherent meaning, all of which are immanent in costumes, are elicited in the semantic dimension; and the influence of costumes on viewers is described as identification in terms of pragmatics. This study provided a system to analyze costumes in fantasy films(especially 'Superman', 'Batman' and 'Spiderman') from the perspective of Morris' semiotic, and based on the analytic system, examined how 'power' is revealed in the costumes of super heroes and ruffians, and what it implies.

• 패션비즈니스
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• 제15권5호
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• pp.144-160
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• 2011

This study investigated the colors of the costumes and backgrounds of characters in the films "Thirst" and "Mother" from an integrated perspective. As a study method, ten scenes per film, which contained the characters and backgrounds from the start to the end of the DVDs of "Thirst" and "Mother" were examined. For integrated color analysis of the costumes and backgrounds, the colors of the captured scenes were simplified to extract representative colors, and then color palettes were presented according to the ratio of area. The colors of costumes were analyzed by recognition through the eyes based on the I.R.I. Hue and Tone 120. Furthermore, the color images of the two films were analyzed using the I.R.I. adjective image scales and the I.R.I. color image scales. The colors of the film "Thirst" were generally low in brightness and high in chroma. They are characterized by dark, gloomy toned-down background in the first half, highly chromatic vivid background in the second half, and the contrast of purple blue colors and red colors. The colors of the film "Mother" are characterized by complementary colors between background and costume colors, and various tones of blue and green colors. From the aspect of color tones, they were relatively high in brightness compared to the film "Thirst" but low in chroma. On the I.R.I. adjective image scale, contrasting adjectives were extracted simultaneously from the film "Thirst" as the adjectives were evenly distributed at hard, dynamic and static, whereas the adjectives extracted from the film "Mother" were distributed at hard and statistic. On the I.R.I. color image scale, both films were located at hard, but the film "Thirst" was located at dynamic whereas the film "Mother" was located at static.