• 한국콘텐츠학회논문지
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• 제16권5호
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• pp.172-179
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• 2016

80년대 한국사회는 70년대 산업화의 연속과 90년대 민주화의 열기가 혼종된 시기이다. 80년대 한국영화는 산업화와 민주화 속에서 긴장과 갈등 양상을 영화의 공간과 같은 양식에 약호화한다. 이 연구의 목적은 80년대 한국사회의 산업화와 민주화의 양상이 80년대 한국영화에 어떻게 약호화되는가를 고찰하는 것이다. 구체적으로는 80년대 서울 도시경관의 변화를 직접적으로 반영하고 있는 80년대 한국영화의 도시 공간 재현양식에 주목한다. 이 연구는 1980년 개봉작 <바람불어 좋은날>과 1988년 개봉작 <칠수와 만수>의 공간 구성 양식 분석을 통해 1980년대를 관통하는 한국사회의 변화 양상을 살펴본다. 70년대를 마무리하는 <바 불어 좋은날>과 90년대를 맞이하는 <칠수와 만수>는 80년대 한국영화사의 단면과 한국사회상의 혼종 양상을 보여준다. 특히 두 영화의 도시 공간 양식은 한국사회의 정치, 경제, 문화를 총체적으로 약호화한다.

• 대한원격탐사학회지
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• 제38권4호
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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.

• 미술이론과 현장
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• 제7호
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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.

• 한국의류학회지
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• 제34권5호
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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.

• 한국언론정보학보
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• 제77권
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• pp.164-199
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• 2016

본고의 연구 목적은 일본산 가라오케가 부산에 유입된 사회경제적 배경을 검토하고, 1980년대 부산 지역을 중심으로 번졌던 가라오케 문화가 1990년대 노래방 문화의 태동과 어떠한 관련성을 가지는지를 기술의 사회적 구성주의론이라는 시각에서 해명하는 데 있다. 연구결과, 1980년대 가라오케의 부산 유입에 있어서 가장 중요한 사회경제적 배경에는 1970년대 동아시아 기생관광산업의 구조 변동 속에서 정부의 관광객 유치 정책에 의해 부산을 방문하는 일본인 관광객이 늘어났다는 요인이 자리를 잡고 있지만, 1982년 정부의 국제여행 알선업체의 등록제 전환과 그에 따른 여행업체와 가라오케 업소 간의 사업적 제휴, 가라오케 업소 간의 일본인 관광객 유치 경쟁 또한 부산 지역 가라오케의 증가를 가져온 요인이었음이 밝혀졌다. 한편, 1980년대 부산의 노래방 문화 형성이 가라오케 문화와 맺는 관련성을 매체사적인 시각에서 살펴본 결과, 초창기 직접적으로 노래방기계를 접했던 부산 지역의 사람들은 노래방의 '새로움'을 주로 전자오락기와의 비교를 통해 인지했었던 데 반해, 가라오케와 노래방을 비슷한 것으로 잘못 인식해 노래방을 '왜색 문화'라고 비판했던 언론은 비록 부정적 방식이긴 하더라도 노래방의 사회적 인지 확대에 매우 큰 역할을 담당했음이 밝혀졌고, 그런 점에서 1980년대 부산의 가라오케 문화는 노래방의 사회적 인지 획득 과정에 연관되어 있음이 드러났다.

• 한국가구학회지
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• 제23권1호
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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.

• 한국도서관정보학회지
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• 제30권4호
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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.

• 건축역사연구
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• 제25권2호
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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.

• 융합보안논문지
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• 제16권6_2호
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• pp.43-51
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• 2016

1980년대의 민간경비는 1976년 용역경비업법이 제정되면서 마련된 제도적인 틀 속에서 성장하는 시기였다. 1980년 민간경비의 발전을 가져온 동인은 우선 저 달러가치, 저 국제금리, 저 원유가격이라는 국제경제환경에 힘입어 국내 경제가 고도성장을 하고 무역수지 흑자를 가져오면서 호황을 누리게 된 것이다. 아울러 전자산업 고도화계획에 따라 추진하던 반도체, 컴퓨터 및 통신기기분야가 육성되었다는 점이다. 이러한 경제발전에 따라 다양한 서울국제무역박람회, '86 아시안게임, '88 서울올림픽 등의 국제행사와 국내행사가 개최됨에 따라 민간경비가 참여하여 성공적인 경비업무를 수행함으로서 민간경비에 대한 인식제고와 확산의 계기가 되었다. 또 1980년대에는 일본 세콤을 비롯하여 외국기업의 한국투자 또는 한국의 기술도입이 민간경비산업에도 많은 변화를 가져온 것이다. 그동안 인적 경비를 중심으로 해오던 민간경비가 기계경비 또는 시스템경비가 보완되는 기계경비시대를 가져왔다는 점이다. 본 연구의 목적은 1980년대의 민간경비를 둘러싼 사회적 환경을 분석하고 민간경비에 발전적인 계기가 되는 중요한 요소들을 체계적으로 분석하는 것이다.

• 건축역사연구
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• 제25권6호
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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.