• 만화애니메이션 연구
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• 통권29호
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• pp.37-60
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• 2012

본 논문은 1960년 일본에서 "애니메이션 3인의 회" 결성이 계기가 되어 이후 새로운 흐름을 형성한 애니메이션의 경향을 실험적 애니메이션으로서 규정하고 그 양상을 논한 것이다. 실험적 애니메이션은 대개 전통적인 애니메이션과 상반되는 경향을 보여준다. "애니메이션 3인의 회"는 종래의 만화 영화의 형식을 타파하는 다양한 시도를 통해 애니메이션의 개념을 새롭게 제시하고자 했다. 당시 일본에서 만화 영화 형식의 주류를 이룬 토에이 동화의 장편 작품과 "애니메이션 3인의 회"의 중심적인 역할을 한 쿠리 요지의 작품을 비교할 때 움직임의 표현과 소재 선택에서 상반된 특징이 나타난다. 이것은 주류의 대안적인 방법이었다. 한편 또 다른 멤버인 야나기하라 료헤이와 마나베 히로시는 각각 디자인과 일러스트를 애니메이션에 접목시켰다. "애니메이션 3인의 회"가 주최한 상영회 및 애니메이션 페스티발에 참여한 여러 장르 출신의 인디펜던트 작가들은 타 장르와 서로 교류하면서 창작 활동을 했다. 그들의 작품에 나타난 인터미디어적 특성은 애니메이션에서 움직임의 대상을 확대하여 새로운 표현의 가능성을 모색하고자한 시도로 볼 수 있겠다. 이렇게 3인을 비롯한 인디펜던트 작가들의 소재와 움직임의 표현 및 대상에 대한 탐구는 전통적인 애니메이션의 경향을 타파한 것으로서 실험적 애니메이션에 속하는 것이었다. 3인의 시도는 1960년대 일본의 실험적 애니메이션이 성립하는 바탕이 되었으며 그들의 실험 정신은 이후 시대별로 변용하여 최근 일본 애니메이션의 인디펜던트 작가들의 참신하고 진보적인 표현에 계승되고 있다고 여겨진다. 1960년대의 양상이 이러한 표현의 역사상의 출발점이라는 것을 강조한 데에 본 고찰의 의의가 있다고 하겠다.

• 산학경영연구
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• 제17권
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• pp.27-52
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• 2004

1960년대와 1970년대에 걸친 한국경제의 성공적 도약과 이에 따른 기업의 성장은 정부의 적극적 개입에 의한 것이다. 이러한 정부주도의 경제성장이 우리나라에서 성공하게 된 이유는 박정희 정권이 효과적인 관료제를 확립하였을 뿐 아니라 수출실적 등과 같은 객관적 기구에 의하여 시장기구 못지않은 기율을 기업들에 실시한데 있다. 1960년대의 기업성장 및 기업집단 형성의 요인들로는 경제개발과정에서의 정부정책사업 및 수출 진흥정책에의 편승에 의한 특혜, 차관도입을 위시한 금융특혜, 공기업의 민영화 및 부실차관기업의 정리, 그리고 월남특수 등을 들 수 있다. 1970년대에는 8.3 사채동결조치, 중화학공업화, 중동건설특수, 종합무역상사제도의 도입 그리고 60년대 정부의 금융지배이후 계속되어오는 금융 및 자본시장에서의 경제적 지대를 기업성장 및 기업집단형성의 요인들로 들 수 있다. 그러나 이러한 특혜에 의한 성장은 기업의 비관련 다각화를 촉진시켰고, 간접금융에 의존하는 악성 기업재무구조를 유도하였고, 재벌중심의 독과점산업구조를 형성시켰다.

• 복식
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• 제58권6호
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• pp.69-84
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• 2008

Considering that star reflects the image of current society, analyzing fashion of celebrity is to read ideal type and demands of beauty of the era. Especially the rock music-represents youth culture that last on present day-born in 1960's, and it is considered to a significant decade in pop music history. Thus this research will analysis rock star's fashions in iconological view of E. Panofsky. The aim of this document is Clarifying how the fashion of pop stars appeared and what formed its worth. As a result of analyzing fashions of rock star in 1960's, it is available to find these sameness and difference. The Mods borrowed images of the past, and introduce the elite modernism and shows very urban style. The Folky and the Psychedelic showed post-structuralism propensity against industrial society, in the case of the Folky it induced styles that symbolize labor class to realize social worth. And as an aftereffect of war and repulsion of commercial worth, they embody nature-returning peasant look so that it shows pastoral mood in total. The Psychedelic express somewhat struggling escapism and it generated illusionary images with quests to superego and glorification to psychedelic status. The Folky and the Psychedelic are same in the side of introducing existentialism, this occurred by using ethnic factor. But the Folky showed plain outlook by pop propensity, on the other hand, the Psychedelic showed magnificent outlook such as optical art, pop art, and futurism ought to express merrymaking culture. And common feature of these is introduction of unisex mod which is came after the change of gender role. Thus each star or group has professed special ideology into their culture and it is reflected to acts which is including music and dress style. This affair is analyzed like these two things. The mass of people schemes their identity with inducing special ideology to their culture at the first. And the purpose to archive cultural hegemony in inter-social class at the next.

• 한국실내디자인학회논문집
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• 제14권2호
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• pp.3-11
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• 2005

The subject of this paper is to find out the characteristics of Michael Graves' housing design. I collected the information of his designs and teamed his design language through his works on different time. I chose five actual housings for analysis which were built since 1960 when he have started his career. Though analysis of the exterior view, plane figures and the total arrangement photos, I could reached the conclusion. From analysis of this research I could figure out the characteristic of Michael Graves housing design as follows. During his whole working career $(1960\~present)$, his design style has went through distinctive characteristic changes that can be divided into: 1960s to early 1970s, mid and late 1970s, 1980s to as of now. 1960s to early 1970s, during this period his works implicated transparency, openness, consistency, complication, and contrast on space, abstraction, white-color and metaphor. mid and late 1970s, showed the white-color figure put together with geometrical structure and post-modernism styles such as ornamentation, natural and metaphor. 1980s to as of now, implicated ornamentation, natural features, historic background, interconnections, variety, symbolism and tradition.

• 건축역사연구
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• 제8권2호
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• pp.87-108
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• 1999

Since 1960, the change of architectural trend was dominated by two factors ; the one, the introduction of theory of language (including semantic, syntactic, pragmatic, linguistic, semiotic, structuralism, post-structurism) in design concept, the other, the adaption of high technology in building construction. In particular, the theory of language played an important role in the emergence of new tendency, which could be the alternative of modern architecture. Post-modernism and Typology in the 1960-70s, Deconstructivism in the 1980s and 'Folding' architecture in the 1990s, have continually borrowed a theoretical base from the thee of language. Placing the focus on the relation of contemporary architecture and theory of language with the interdisciplinary view, this study comes to the conclusion that the diverse architectural tendencies since 1960 depend on the 'champ d'enonce', which Michel Foucault, French philosopher, defined in his . The writings of many architects, like Robert Venturi, Micheal Graves, Aldo Rossi, Peter Eisenman, Rem Koolhaas, Bernard Tschumi, Gerg Lynn demonstrate our conclusion. This is an important finding which make possible consistent understanding about contemporary architecture.

• 대한공간정보학회지
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• 제13권4호
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• pp.67-73
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• 2005

우리나라는 1960년대부터 급속한 도시화가 이루어졌으나, 현재까지 활용되어온 위성영상들은 1970년대 이후에 얻어진 영상들이기 때문에 과거 1960년대 한반도 지역의 지형정보를 제공해 줄 수 있는 자료가 거의 없다. 최근에 일반인에게 공개된 CORONA 영상은 과거 1960년대의 한반도 지형정보를 고해상도 및 광역적 범위로 제공할 수 있는 영상으로써, 도시, 산림, 환경 등 여러 분야의 변화탐지 자료로 활용성이 크다. 본 연구에서는 1960년대의 CORONA 영상을 이용한 과거 한반도 지역 모자이크 영상의 제작을 목적으로 하였으며, 이를 위하여 기하보정 방법으로 1차, 2차, 3차 다항식과 변형된 공선조건식에 대한 정확도를 평가하였다. 정확도를 평가한 결과 엄밀식의 정확도가 가장 높았으나 지상 기준점 취득의 문제로 인해 20개의 기준점을 사용한 2차 다항식으로 기하보정을 수행한 후 한반도 모자이크 영상을 제작하는 것이 효율적이라는 결론을 얻었다. 이를 바탕으로 1960년대 한반도 지역을 모두 포함하는 CORONA 모자이크 영상을 생성하였으며, 생성된 모자이크 영상은 도시계획이나 변화탐지와 같은 다양한 분야에 활용이 가능할 것으로 예상된다.

• KDI Journal of Economic Policy
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• 제39권2호
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• pp.1-23
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• 2017

Korea's rapid export expansion suddenly began in the early 1960s and boosted the economy. This paper's investigation finds that it began in 1961, as new export items appeared, export of which increased incomparably faster than that of the current export items at the time. How and why of this highly unusual phenomenon can best be explained by a major reform of foreign exchange system in February 1961. This goes against the widely held view that the switch in development policy from import substitution to export promotion in the mid-1960s was the reason for Korea's export success. Rather, the evidence indicates that the rapid export expansion led to the policy switch. The government's export promotion since the policy switch helped the rapid export expansion continue into the 1970s, despite the protectionist import policy.

• 복식
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• 제50권8호
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• pp.177-198
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• 2000

The major purpose of this study is to obtain the evident and visual data about the changes of Korean dress with a socio-cultural context through dress depicted in the Korean films since the 1960s. For this purpose, after were Korean socio-cultural background including the history of Korean films and mass fashion trends reviewed, total fifteen Korean films by ten year were selected on the basis of contemporaneity popularity, and fashionability, and analyzed with the data reviewed before. And the results can be summarized as follows : Dress in the Korean films of the 1960s shows sporty casual took influenced by western style, with the popularity of young fashion and youth film. The typical styles are sac dress and mini skirt fur women, and suit with American silhouette for men. Unisex mode including slim T-shirts and blue jeans with European silhouette supt appears mainly in the Korean films of the 1970s, with the change of sex roles and mass fashion trend. Dress in the Korean films of the 1980s is characterized by bold silhouette and decorative details. with the boom of erotic metro-drama and luxurious fashion trend, such as padded jacket, X silhouette ensemble, brig look coat for women, and American style suit for men. Dress in the Korean films of the 1990s shows the rapid cycle of fashion with the increase of casual wear, reflecting the popularity of romantic comedy film and various socio-cultural circumstances. As a result, the current of dress depleted in the Korean films since the 1960s is summarized as the cycle of fashion accelerated, the similarity between men's and women's wear, and the increase of sporty casual wear. Also, dress in the films reflects effectively the socio-cultural context related to fashion except for especially emphasizing characters in films.

• 한국의상디자인학회지
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• 제6권1호
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• pp.64-72
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• 2004

The purpose of this paper is to investigate the changing fashion image of the glossy materials including metal, leather, vinyl, latex, plastic etc. from 1960's to the present. Glossy materials used in the second half of the 20th century showed a restricted image combined with a specific social circumstance. They expressed a reflection of young and future-oriented space period of 1960s. Many designers like Paco Rabanne and Andre Courreges were concerned with the fashion of space age and expressed that image with leather and synthetic materials including silver leather, metal chain armor, and plastic appeared as the keynote of fashion. In 1970's, glossy material was the symbol of avant-garde and rebellious attitude by the punk fashion. They maximized glamourous look of 1980s, and cyber look with an expectation for a new millenium of 1990s. On the other side, glossy materials seem to be used as a source of various inspiration of fashion designer in the 21st century. Also, some of the past images, for example space look and glamourous look, are revived in the 21 st century by the form of modified design.

• 한국식생활문화학회지
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• 제35권6호
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• pp.524-537
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• 2020

This research was undertaken to examine Masan's regional food service industry, which experienced drastic changes due to liberation and the Korean war. Analysis of restaurant advertisements in 'Masanilbo' revealed a total of 92 restaurants during this period. The numbers of restaurants classified by the time periods are 18 (1946 to 1950), 27 (1951 to 1955), 17 (1956 to 1960), and 30 (1961 to 1966). 'Gomguk' gained popularity in the early 1900s and became a speciality of Masan, resulting in the appearance of numerous Gomguk restaurant advertisements. After independence, Japanese foods were predominant in Masan since the population was used to eating Japanese dishes during the colonial era. Moreover, there was a major influence of the people who returned to the homeland. Masan was the place for refugees during the 6.25 war, resulting in the popularity of 'Naengmyeon'; advertisements largely displayed 'Pyeongyangnaengmyeon' during the early 1950s, and 'Hamheungnaengmyeon' during the early 1960s. Western food advertisements usually introduced 'Dongaseu' and 'Kareraiseu', which were deeply influenced by Japanese culture. These various contributions resulted in alterations in the food menu, such as the rise of fusion food which is not bound to any nation, spread of Japanese food culture, and popularity of 'Naengmyeon'.