• Journal of Popular Narrative
• /
• v.25 no.3
• /
• pp.9-40
• /
• 2019

This study presents an investigation into South Korean films in the 1990s in the aspects of genre change and emotional reorganization. The 1990s witnessed a change of genres and a paradigm shift in the history of Korean films according to the revolutionary changes of the film industry structure and media environment. Believing that these changes had something to do with emotional changes driven by global capitalization symbolized by democratization in 1987 and the foreign currency crisis in 1998, the investigator analyzed the phenomena in film texts and examined the opportunities and context behind them. Unlike previous researches, this study made an approach to the history of Korean films in the 1990s with three points: first, this study focused on why the romantic comedy genre emerged in the 1990s and what stages its formation underwent since there had been no profound discussions about them; secondly, this study analyzed the biggest hits during the transitional period from 1987~1999 to figure out the mainstream genres and emotions during that period since these hits would provide texts to show the genre domain and public taste in a symbolic way; and finally, this study grew out of the separate investigation approach between melodramas and romantic comedies and looked into an emotional structure to encompass both genres to make a more broad and dynamic approach to South Korean films in the 1990s. History flows continuously without severance from previous times. When there is attention paid to inflection points and opportunities in the continuum, it can show the dynamics and structures of changes. This research led to the following conclusions: the mainstream genre of South Korean films had been melodramas until the 1980s. The old convention had been kept to offset or suture contradictions and excessive elements deviant from the structural consistency. Here, the structural consistency refers to no compliance to rational regulations or trade. The process of genre reorganization in the 1990s happened while securing some distance from the convention of making the structural consistency a sacrifice. The direction was to reinforce control through reasonable rationalism and logic of capital. It developed into romance, which would start with comedy to keep distance from the objects through laughter, heighten the level of remarks, and expand criticality, symbolize emotions with taste items, and build through the logic of mutual consensus and practical trade. In the 1990s, the South Korean films thus developed in a direction of moving away from the narrative of urgent pathos based on unconditional familism. It was on the same track as the entry of the South Korean society into the upgraded orbits of democracy and capitalism as the twins of modern rationalism since the latter part of the 1980s.

• Journal of Biomedical Engineering Research
• /
• v.11 no.2
• /
• pp.315-318
• /
• 1990

필자는 1990년 10월 11일부터 13일까지 일본 동경대학에서 개최된 제1회 극동 의공학회(Far Eastern Conference on Medical Engineering & Biological Engineering : FECMBE 1990)에 참석하였다. 여기에서 학술대회의 내용과 극동지역에서의 의공학의 동향에 관하여 기술하고자 한다.

• Applied Biological Chemistry
• /
• v.33 no.2
• /
• pp.174-176
• /
• 1990

Oxidation of artemisinic acid was attempted with chromium trioxide-pyridine complex. Epi-Deoxyarteannuin B was formed almost quantitatively, while expected keto artemisinic acid was not the major product. The physical and spectral data of the product are presented(Received March 9, 1990, Accepted May 25, 1990)

• Fashion & Textile Research Journal
• /
• v.7 no.4
• /
• pp.371-377
• /
• 2005

The purpose of this study is to consider 1990s fashion design involving the utility of function which is the essence of modernism. First, documentary studies about the aesthetic value of the utility of function throughout the 20th century sociocultural contexts has been done. Second, content analysis of articles in American "Vogue" from 1990 to 2002 has been accomplished to hold the actual proof for the utility of function in postmodernism fashion. As a result, the utility of function has been defined the utility of body activity, the utility of practical use, and the utility of mechanical product. According to contents analysis, new aspects has been introduced in use of high-tech fabrics, ornaments, and mass customization in 1990s. In conclusion, the utility of function in fashion has been improved in accordance with the change of sociocultural contexts and women's wants.

• Archives of design research
• /
• v.16 no.4
• /
• pp.365-374
• /
• 2003

The purpose of the present study was to improve the artistic qualities in the future fashion design by investigating how the art to wear was applied to the inspiration in the modern fashion design in the late 1990s. For this purpose the present paper examined characteristics in art to wear and their impact on modern fashion design in the late 1990s. Distinguished from the traditional costume, art to wear disregarded a fixed concept on design elements such as the socio-cultural images, materials, and forms. The artists in art to wear freely expressed their "selves" and their individuality to their works in a variety of ways. In fashion design in the late 1990s the creative characteristics of art to wear were reflected in four ways: (1) eco-look, (2) humor, (3) deformation, (4) materials. The present study suggests that the creativity of the art to wear can establish the potentials and possibility in modern fashion design, and art to wear can be a crucial mediator in opening art into the real world.

• Proceedings of the Korea Contents Association Conference
• /
• 2007.11a
• /
• pp.335-338
• /
• 2007

It was active comparative studies to search effectively patent information online before and after 1990. There was a few studies about user interface of internet based patent information in the end of 1990's. Since 1990's, there is no user interface studies on patent information. Nowadays, patent informations are served very differently according to service providers. This paper focuses on search interface of web-based patent information service and compares about each component.

• Korean Institute of Interior Design Journal
• /
• no.21
• /
• pp.3-9
• /
• 1999

Contemporary society that is apt to be homogeneity because of the development of computer communication and mass-media desires to seek its own identity in native realm. Contemporary Korean architecture has endeavored continuous discussion and practice to keep its identity within the current tendency. The purpose of this study is to grope the alternative for genuine 'Koreaness' to analyse the variant trend of its characteristics 1990's. The variation of Korean society in 1990's that emphasize self-regulation and individual value has influence on the realm of architecture so much. The cognition of 'Koreaness' has changed with center in the individual and small -size design group, not present accommodation of past, but continuous research to find archetype of tradition which can play a decisive role of linking present and future on the foundation of past. Many attempts and practical works that express 'Koreaness' in 1990's are performed in the area of residence works that reflect Korean emotion and life-style directly. This change can be an answer to solve the problem of peculiarity and universality in 'Koreaness'. After 1960's the main theme of 'Koreaness' was traditional architecture form, but because of the induction of Postmodernism and at once its reflection and critical attitude with limit of formal duplication, which lost its meaning. In 1990's, research for spatial form as korean emotion and image has carried out and played an important part of original expression for 'Koreaness'

• Journal of the Korean Society of Clothing and Textiles
• /
• v.24 no.8
• /
• pp.1155-1166
• /
• 2000

The purpose of this study is to investigate deconstructive trends of the street fashion in the 1990s spring/summer(S/S) Collections. This study was carried out by both the qualitative analysis and the quantitative analysis. In the qualitative analysis, the important street fashion was grouped and deconstruction was sampling of category. In the quantitative analysis, it took frequency, percentage and $\chi$$^2$-test. The results of the quantitative analysis are as follows: 1. \"N대-Hippie/Grunge\" has been most popular street fashion through the 1990s. The next is \"Sportive Casual\". 2. According to \"deconstructive inner meanings\", there are significant differences between the S/S street fashion in the 1990s. In \"N대-Mods/Jazz\" style, \"Sportive Casual style\" and \"Technos/Cyber-punk\" style, \"Intertextuality\" is high. In \"N대-Hippie/Grunge\" style, \"Exhibition of Otherness\" is high. 3. According to the \"deconstructive outer description\", there are also significant differences between the S/S street fashion in the 1990s. But, In \"Neo-Mods/Jazz\" style, \"Not Included\" is high, which means the \"N대-Mods/Jazz\" isnt related to the \"deconstructive outer description\". In \"N대-Hippie/Grunge\" style, \"Poverty.outworn\" is high. In \"Sportive Casual\", \"Exposure\" is high. In the \"Technos/Cyber-punk\", \"Destruction.Division\" is high.

• Bulletin of the Korean Space Science Society
• /
• 2008.10a
• /
• pp.24.2-24.2
• /
• 2008

We have examined the relative contributions of representative space weather proxies (geomagnetic aa index) to global warming (Global temperature anomaly) and compared them with that of green house effect characterized CO2 content from 1868 to 2005. For this we used Hadcrut3 temperature anomaly (Ta) data, aa index taken at two anti-podal subauroral stations (Canberra Australia and hartland England), and the CO2 data come from historical ice core records. From the comparison between Ta and aa index, we found several interesting results: (1) the linear correlation coefficient between two parameters increases until 1990 and then decreases rapidly, and (2) the scattered plots between two parameters shows different patterns before and after 1990. A partial correlation of Ta and two quantities (aa, CO2) also shows that the geomagnetic effect (aa index) is dominant until about 1990 and the CO2 effect becomes much more important after then. These results imply that the green house effect become very important since at least 1990. For a further analysis, we simply assume that Ta (total) = Ta (aa) + Ta (CO2) and made a linear regression between Ta and aa index from 1868 to 1990. A linear model is then made from the linear regression between energy consumption (a proxy of CO2 effect) and Ta (total) - Ta (aa) since 1990. This linear model makes it possible to predict the temperature anomaly in 2030, about 1 degree higher than the present temperature, which is much larger than in the previous century.

• Journal of the Korean Society of Costume
• /
• v.56 no.6 s.105
• /
• pp.96-113
• /
• 2006

Romanticism factors in fashion since the 1990s is more about feminine softness and grace, and suggests the image of a fantastic cute and lovable girl with dreams. This study examined romanticism in literature focusing on the 19th century, which is considered the time of romanticism, and examined romanticism in men's fashion since the 1990s based on the newly found characteristics of romanticism. Romanticism in men's fashion since the 1990s can be divided into three categories of individual sensitivity pursuing romanticism, romanticism with a desire to aspire, and resistance inclined romanticism. First, individual sensitivity pursuing romanticism is the type that places importance on expression of emotions based on the values on individuals, and was expressed as either romanticism with sexual charm or as romanticism with an extremely feminine taste. Second, romanticism with a desire to aspire was the most prominent romanticism fashion type in men's fashion since the 1990s and it can be divided into four categories of aspiration of nature and time, aspiration of the past and romanticism, aspiration of childhood and aspiration of new exotic cultures. Third, resistance inclined romanticism was expressed as romanticism that is inclined to resist against materialism and romanticism that resists against youth culture.