• The Journal of the Korea Contents Association
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• v.16 no.5
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• pp.172-179
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• 2016

Korea society in the 1980s is the timing of the hybrid intermingled with the continuous industrialization in the 1970s and the democratic aspirations of the 1990s. Korean films in the '80s codified a tension and conflict patterns of the industrialization and democratization in the style such as film space. The purpose of this study is to consider how this aspect of industrialization and democratization in the '80s was codified in Korean films of the '80s. Specifically, it focuses on the style representing the urban space in Korean films of the '80s. This study looks at the changing pattern of the Korea Society through the 1980s by analyzing the space configuration form of Good Windy Day(1980) and Chil-su And Man-su(1988). Good Windy Day to finalize the '70s and Chil-su And Man-su to greet the '90s show the hybrid aspect of the '80s. In particular, the urban space style of the two films codified the political, economic and social culture of Korea as a whole.

• Korean Journal of Remote Sensing
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• v.38 no.4
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• pp.411-419
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• 2022

DPR Korea has been creating cropland across the country due to its chronic food shortage. Cropland was about 17.4% at the end of the 1980s, but it increased steadily to 19.6% at the end of the 1990s, 24.8% at the end of the first decade of 2000s, and 25.4% at the end of the 2010s. On the other hand, the forest land declined from about 74.8% in the late 1980s to 69.5% in the late 2010s. Urbanization is also progressing, increasing from about 1.15% at the end of the 1980s to 1.68% at the end of the 2010s. Most of the deforestation that occurred in DPR Korea was caused by conversion to cropland. These characteristics of land cover changes in DPR Korea provide useful information and implications for international and inter-Korean cooperation for DPR Korea.

• The Journal of Art Theory & Practice
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• no.7
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• pp.7-36
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• 2009

This paper intends to examine the significance of the "Minjoong Misool(People's art)" of the 1980s emerged in Korea in its social, cultural, and art historical context. This paper also aims to provide an analysis of the meaning and form of the individual artist's works, which have been overlooked under the dominant discourse that has emphasized their political role as a collective group. In particular, this paper scrutinizes the work of "Critical Realists" by examining the way in which they perceived Korean society in the early 1980s and visualized their experiences of the period. The figurative art newly emerged in the early 1980s challenged the formalist Modernism, which was adopted into Korea and translated into monochrome paintings and the work of the conversative academicism of the 1970s. The figurative art encouraged a social communication and moreover it intended to criticize the conflicts in the political, economical, and social domains in Korea. The targets of its critique include the unavoidable results of the unprecedented development of economy, various social phenomena of the post-industrial society, and the growth of the commercialized kitsch culture. Along with Shin, Hak-chul's work that incorporates collage technique since the 1980s, the work of some members of "Reality and Utterance" and "Im- sul-nyun" exemplify their critical interests in disclosing the false dream of wealth and happiness by both referring to and drawing on the utopian fantasy manipulated and distributed by mass media and commercial advertisements. This paper pays particular attention to Nouvelle Figuration emerged in France and Europe during the 1960s, which is comparable to the new figurative art emerged in Korea during the 1980s. Nouvelle Figuration criticized the autonomy in art isolated itself from political and social reality after WWII, in particular the indifference of Informel and abstract art as well as American abstract art. Moreover it became rather politicized around May of 1968. Given that French Nouvelle Figuration was introduced in Korea in 1982 and made a significant contribution to the formation of figurative art in Korea, it should be noted that the new figurative art emerged in the 1980s in Korea cannot be categorized merely in relation to People's Art. This paper intends to critically redress the notion that People's art was formed in the particular political, economical, and cultural context of Korea independent of the contemporary artistic practices outside Korea. It will provide a critical examination and analysis of the content and form of the new figurative art, from which People's Art was germinated, in the global context.

• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.5
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• pp.831-843
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• 2010

This paper examines the advertisements for mass-produced women's clothing, which appeared in the 1980s issues of the fashion magazine Wolganmeot. This study explores the communicative aspect of fashion advertisements of the 1980s as a platform for complex and dynamic interactions between fashion brands, female consumers, and the rapidly changing social, cultural, and economic conditions of the period. The research focuses on advertisements in the formal and character casual categories that targeted young, urban, and career-seeking women. Based on the analysis of the visual and textual elements of the advertisements from a pragmatics perspective, this paper concludes that fashion brands sought to highlight an 'intelligent', 'urban', and 'individualistic' image of women. It also proposes that the prevalence of assertive and straightforward textual elements, copies, indicates the efforts of fashion brands to stabilize and reinforce the advertising messages in the fast-evolving landscapes of the fashion industry and changing consumption habits.

• Korean journal of communication and information
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• v.77
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• pp.164-199
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• 2016

This study analyzes the socio-economical contexts of Japan's Karaoke inflow in Busan of the 1980s, and examines the relationship between Karaoke culture of the 1980s and 'Noraebang' culture of the early 1990s in Busan from the perspective of the SCOT(social construction of technology) theory. By the end of 1970s, Japan's Karaoke was introduced under the contexts of structural transformations of a geisha tourism in the East Asian regions. Karaoke culture in Busan of the 1970s and 1980s has formulated social recognitions of the novelty of Noraebang culture in the 1990s, although it has done so through the ways of misunderstandings and Nationalism.

• Journal of the Korea Furniture Society
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• v.23 no.1
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• pp.10-25
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• 2012

This article aimed at understanding the characteristics of Swedish furniture design since 1980s in the reference to the major paradigm changes in the contemporary design field. For this, the authors examined the theoretical background of modern and post-modern design paradigms to identify today's design tendencies. And we used this frame in the analysis of the latest examples of Swedish furniture design. The main characteristics of Swedish furniture design since 1980s included 'furniture as art object', 'the succession of the Swedish Modern (neo-modernism)', and 'conscious design for sustainable development'. These could be viewed as the consequences of the choices that the Swedish furniture industry and designers made during the last decade, that was to take plurality and contradiction as the accompanying values of the traditional Swedish modern design.

• Journal of Korean Library and Information Science Society
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• v.30 no.4
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• pp.299-326
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• 1999

The purpose of this paper is to review the declining of school library movement in Korea with a special reference to the 1970s and 1980s. The writer keeps an eye on the distortion of education in Korea.

• Journal of architectural history
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• v.25 no.2
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• pp.21-30
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• 2016

Autonomia movement that emerged in Italy in the 1960s from workerist (operaismo) communism gives historical and discursive context to Manfredo Tafuri's famous criticism of ideology. His thesis on the death of architecture was a radical criticism of Keynesian intervention which was a strategy to cope with the Great Depression. For him, this capitalist development had taken away ideological prefiguration from architecture. At least Tafuri's this early intellectual phase was formed in the wake of magazine Contrapiano and Antonio Negri's influence. Tafuri almost entirely adapted Negri's thought on the importance of capitalist innovation that was uncovered by Keynes, Schumpeter, and Manheim and the periodization in modern history. When we read Tafuri's text with this concrete context, we can avoid being plunged into his abstruseness. On the other hand, 1980's Korea cannot understand Tafuri comprehensibly. 1980's situation to struggle to acquire democracy prescribed only one mode of reception of Tafuri's historiography in Korea. Tafuri's so-called pessimist view point could not satisfy student activists. They want to take intellectual means to sustain student movement and to secure political dynamics of protest. But at the same time they have anxiety to understand tafuri's thesis that they consider ad a critical theory for Korean Architecture. Double contexts of Tafuri's criticism of ideology bring to light to historicize both Tafuri's historiography itself and reception of his text in Korea.

• Convergence Security Journal
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• v.16 no.6_2
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• pp.43-51
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• 2016

In the 1980s, private security was established in the framework of institutional framework with the Security Industry Act which was enacted in 1976. The agents who brought in the development of the private sector in 1980 enjoyed a boom in the global economy, affected by its high-flying dollar value, low international interest rate, low oil prices, and the blooming economy. In addition, the semiconductor, computers and communications equipment that was promoted in accordance with the e-Literacy plan were raised. Following the economic development of various events such as Seoul International Trade Fair, "86 Asian Games," and "88 Seoul Olympic Games," private security expenses were enhanced by increasing awareness of civilian expenses. Also, in the 1980s, Korean investment in foreign companies, including Japan's Secom, or Korean technology, brought many changes to the private security. Meanwhile, the cost of security, which has been centered around human expenses, has brought about the era of mechanized spending, or machine security expenses. The purpose of this study is to systematically analyze the social environment surrounding the private security in the 1980s and systematically analyze the important factors that contribute to private security.

• Journal of architectural history
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• v.25 no.6
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• pp.73-80
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• 2016

A discourse on the Independence Hall of Korea, a representative cultural project of the 1980s, has been understood as a repetition of the traditional debate of the 1960s. It was considered as a petrified propaganda aimed at ensuring the fragile legitimacy of the military regime, and the architect as a sympathizer. Even if all these facts are true, it does not give any explanation for the architecture. Scrutinizing the building process and the change of discourse in the Independence Hall of Korea, this paper tries to explore a section of contemporary Korean architecture in the 1980s. The architect who designed the Independence Hall of Korea is Kim Kiwoong, however, it was Kim Won who took charge of overall scheme for it. Kim Won replaced the role of a technocrat in the 1960s, who deprived architects of his autonomy. Against this backdrop, Kim Kiwoong attempted to explain his own building via various concept like postmodernism, which gave him very proper context. But, later, he appropriated words like void and madang. These derived from some architectural historian's researches in 1970s, and were to predict the architecture of the 1990s.