• Journal of the Korean Society of Clothing and Textiles
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• v.40 no.2
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• pp.315-329
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• 2016

The $21^{st}$ century is the age when the revolution of digital technology enables two-way communication and when emotional values are emphasized. Thus, it exerts influence on the fashion industry and fashion communication. Along with fashion shows, advertising and displays, many fashion brands have increased the use of fashion films. For that reason, this study examines the characteristics of fashion films made by fashion brands, based on the frame work of persuasion communication. For the research, literature reviews and internet website research were done and films of Chanel, Prada, Kenzo and Alexander Wang were analyzed. The definition and types of fashion films were redefined as terminology varied throughout previous studies prior to analyzing each case. As a result, a fashion film would be redefined as 'a digital image which a fashion brand publishes to consumers for the promotion of brand comprehension'. Also, five fashion film types, 'short film', 'campaign film', 'animation film', 'brand film' and 'show film' were redefined. The analysis provided three communication characteristics: reliability, engagement and intuition. First, reliability is attained when a fashion brand (sender) delivers brand message to consumers (receiver) consistently and unitedly. Second, engagement is attained when the type of fashion film (channel) delivers creative image features such as format, music, video technique to attract consumers' interest. Lastly, intuition is attained when a fashion brand (sender) delivers a message akin to brand identity and deepens consumers' understanding. In addition, this study tried to identify the unique usage tendency of brands that could serve as practice guidelines for other fashion brands.

• The Research Journal of the Costume Culture
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• v.15 no.1 s.66
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• pp.13-24
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• 2007

This study measured the communication effect on the setting types and the exposure times to perform the effective PPL strategies. By the setting types(on-set and creative) and exposure times(short and long), 308 female older than 20 were divided into 4 experimental groups. Each groups were exposed to the edited movies and required to answer the questionaire. The data were analysed by SPSS 12.0 using Chi-Square, One-Way ANOVA and Duncan test. The results are as follows. First, in cognitive dimension, the on-set type and long exposure group showed the higher recognition and recall. Second, in emotional dimension, the signigicant difference was found in one brand(Kappa) of two which were used in the experiment. In this case, the on-set type and long exposure group showed the positive attitude toward the brand. Third, in behavioral dimension, there were no difference among the groups. The implications based on this results are as follows. First, when implementing of PPL the fashion brands in movies, the on-set type and long exposure would be the most effective method. Second, implementing IMC(Integrated Marketing Communication) linked to the PPL strategy can be more effective. In contrast to the other product categories, it is hard to recognize the brand of fashion goods if the logo or the brand name is not exposed directly. Therefore Combining other communication strategies such as press release simultaneously will birng the more effective result of PPL in the movie.

• International Journal of Costume and Fashion
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• v.5 no.2
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• pp.68-77
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• 2005

In contemporary advertising market, one of main trends is to speak surrealistic visual language which provides 'enjoyable spectacles'. Specially, in the beginning of 21st century, there discovered more and more exhibitions and discourses about surrealism reinterpreted from the viewpoint of postmodernism. Surrealism as a creative style of expression based upon free association, has been a great inspiration for fashion ads for commercial communication as well as fashion design since its origin. However, there has been ignored the idea of analyzing surrealistic image expressed in fashion ads in spite of their flood. Accordingly, the purpose of this study is to grasp its cultural meaning through analyzing aesthetic characteristics of surrealistic image expressed in fashion ads. It will provide a better understanding of surrealistic image in fashion ads reflecting popular taste and preference directly as popular visual culture, focusing on post modern context. A case study of surrealistic fashion ads limits to TV or print commercials and digital ads as image ads stimulating visual expressions. The Results can be summarized as follows. Surrealism is an avant garde style which deconstructs the established meaning system as well as the existing formalistic order and then put them together in the frame of 'dream' and 'unconsciousness'. Defamiliarization questioning the whole edifice of representation can be adapted to. By means of paradox and metaphor, unfamiliar new visual world can be represented. The plastic characteristics of surrealistic image in fashion ads are founded as surrealistic styling of time and space, distortion of object by methods of automatism, depaysement, parody and trompe-l'oeil which bring about the deconstruction of gestalt. Aesthetic values of surrealistic fashion ads appear as dualistic representation, allegoric symbolism, fantastic romanticism. Ultimately they lead to marvelous. mysterious, humorous visual effects. Foster reinterpreted these effects of surrealism from Freud's 'Uncanny Concept'. 'Uncanny' means the phenomenon recurring to familiar being defamiliarized by repression. Surrealistic fashion ads strengthen this shocking effect more and more dramatically in company with our post modern needs for fantastic adventure and thrilling spectacle. It can be thought that surrealistic fashion ads reflects uncanny as an alternative which can relieve us of our stress and anxiety and which realize our potential desire in contemporary post industrial stage.

• Archives of design research
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• v.17 no.1
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• pp.361-372
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• 2004

This study would focus on two section of comparison about creative : one is on between advertisement in magazines as an old media and banner advertisements in websites, the other is on between woman target-oriented advertisement and man target-oriented one. This study commenced on the basis on the viewpoint of gender-design assuming prevalence of masculine ideology in advertisement in the context of men-built society. How delicate the expressions toward woman in woman target-oriented adverts\ulcorner The objectives of this study is as followed. The stereotype could be seen in magazine adverts and web-banner. We can conclude that changed media environment seldom affects in the old media and new media. Especially color stereotype is appeal.

• Journal of Digital Convergence
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• v.17 no.6
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• pp.211-217
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• 2019

This study suggested the alternatives for improving consumers' engagement with digital signage (DS) by analyzing the researches of the effectiveness of DS in marketing and public areas, which is recognized as an essential communication tool for commercial or public matters. According to the results, affective DS ad content of DS resulted in positive shoppers' buying behaviors and perceiving buying environment; DS was also effective for public affairs, which how proper channel and message for the target public resulted in solving community problems. However, it was rare to measure precisely the level of consumers' engagement with DS content and what DS content aroused higher engagement in both areas. Thus, DS content should be more customized based on multiple converged contents for consumers' engagement and the research efforts of DS should be focused on the development of not only its device technology, but also creative content.

• Journal of Korea Entertainment Industry Association
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• v.14 no.7
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• pp.1-26
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• 2020

This study aimed to figure out the characteristics and trends of female images in domestic cosmetic ads, in regard to the introduction and change of the feminism. To begin with, 86 TV commercials of Mamonde cosmetic brands, aired from 1991 to 2019, was analysed in both quantitative and qualitative method. In result, in the first period (1991~1997), the radical feminism was predominant, insisting equality with males. But in the second period (1998~2005), it returned to the liberal feminism in which conventional female images remains. In the third period (2006-2011), the feminism and the post feminism appeared to be mixed, while, in the fourth period (2012-2019), the post feminism has become remarkable where females actively pursue the beauty. To summarize, it is meaningful in academic aspect that the result is a case study which vertically examined the female images of one single cosmetic brand in terms of feminism, on the other hand, in practical aspect that they suggest the establishment of communication and creative strategies of female products.

• The Journal of the Convergence on Culture Technology
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• v.9 no.4
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• pp.351-356
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• 2023

The purpose of this study is to analyze how the movie <The Book of Fish> (2021) represents Joseon, which is slowly collapsing with the Neo-Confucian order of the 19th century shaking, and to discuss its meaning. Prior to the analysis, the analysis framework of the historical drama was presented considering the narration characteristics of the historical drama. Using the analysis framework of historical dramas, we confirmed that <The Book of Fish> is representing the image of Jeong Yak-jeon and Jang Chang-dae living their lives as independent individuals between the limitations and possibilities of the times based on the plot structure of the narrative of exile. Through the central memory and surplus memory created through plot and style elements such as contrast between black and white and color images, voice-over narration, chinese poetry subtitles and music, the film asks us universal questions about what it takes to live as an independent individual.

• Asia Marketing Journal
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• v.14 no.3
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• pp.137-151
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• 2012

Established in May 2005, INNOCEAN Worldwide started as an affiliate marketing and communications company of the Hyundai Motor Group and grew into a top agency ranked no. 2 in the South Korean market within seven years. Currently, INNOCEAN Worldwide has become a global company, operating in sixteen countries through four regional headquarters, fifteen overseas subsidiaries, and seven branch offices with more than 1,100 employees. The company holds top clients from finance, electronics, telecommunications, food, retail, education and other various industries. The accomplishment of INNOCEAN Worldwide can be summarized by the following five key factors. The first factor is INNOCEAN Worldwide's strong and enduring passion and commitment to enter the global market and to build and strengthen its global network. The second factor is achieving successful localization through recruiting talented employees for its overseas branches directly from the local workforce, which enables the company to overcome language barriers, cultural differences, and creative gaps among different regional markets. Third is the company's effective implementation of the 'Global Resource Remix' strategy, which incorporates the distinctive competencies of each overseas operation as a global company standard. Fourth is the creation of the 'Discover System,' a global knowledge management system enabling overseas offices worldwide to share each other's accumulated knowledge and experiences. The fifth factor is the successful establishment of INNOCEAN Worldwide's unique Total Marketing Solution Service. Through this service, the company has offered integrated consulting services for strategic brand management to solve various marketing problems. In summary, the passion and commitment of INNOCEAN Worldwide's top management for the company's globalization and the supporting system that enables such commitment have made it possible for the company to take a global leap and become not merely a company with global operations but a truly global company.

• Journal of Internet Computing and Services
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• v.15 no.4
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• pp.91-102
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• 2014

The purpose of this research is to perform the consumer typological study of integrated emerging digital advertisement, where IT and advertisement industry were fused, and to propose the theoretical definition about consumer characteristic which is in need for collection of related market subdivision strategy in perspective of business marketing. For this, the Q methodology, the 'subjectivity' research of qualitative perspective, which discovers new theory by interpreting subjective system of thinking, preference, opinion, and recognition of inner side of respondents, was applied and analyzed. Compared to previous quantitative research that pursues hypothesis verification, this Q methodology is not dependent on operational definition proposed by researcher but pursues for analytic study completely reflecting objective testimony of respondents. For this reason, Q study analyzes in-depth the actual consumer type, which can be found at the initial market formation stage of new service, therefore this study is applicable for theorizing the consumer character as a mean of advanced research. This study extracted thirty 'IT integrated digital advertisement type (Q sample)' from thorough literature research and interviews, and eventually discovered a total four consumer types from analyzing each Q sorting research data of 40 respondents (P sample). Moreover, by interpreting subdivided intrinsic characteristic of each group, the four types were named as 'multi-channel digital advertisement pursuit type', 'emotional advertisement pursuit type', 'new media advertisement pursuit type', and Web 2.0 advertisement pursuit type'. The analysis result of this study is being expected for its value of usage as advanced research of academic and industrial research with the emerging digital advertisement industry as a subject, and as basic research in the field of R&D, Marketing program and the field of designing the advertisement creative strategy and related policy.

• Archives of design research
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• v.13
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• pp.177-200
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• 1996

The purpose of this study is to show the textile designers how to be creative and how to accept other ideas which are not necessarily of their own, and to show what exactly creating anything means. During the 1950's and'60s. America and Europe reached their peak in developing their consumption culture. After World War II, America achieved an astonished feat in developing its thechnology and industry to cause the economy to a rapid ascendence. The U.S. government adopted the Keynsian theory in its economic policy. The Keynsian theory advocates the consumer spending. And during this time period the American public developed consumption habit. Mass production and mass media went in hand to induce the public to buy. The public became an important target for the advertising stratages of the industry. In order for the industry to advertise the mass produced products, it had to utilize the mass media such as television, newspaper, and magazine. And mass media came into play an important role not to advertise the products, but to imform and educate the public about the products. This corporate stratege is further enhanced by the desire of the American public to climb up the ladder by way of material possession. Pop Art was born not only in reflecting the ideology of the consumption culture, but acted as a catalyst for more spending. The subjects of Pop Art are cars, foods, comics, Hollywood actors and movie scenes, the famous singers or persons. Andy Warhol specifically used the chosen image repeatedly to emphasize the redundacy of the image. The common factors which exist between Andy Warhol's Pop Art and textile design is the repetition in form, and the way of transferring an image to a canvas - Warhol used the frotttage technique to transfer an image to a canvas and textile design is transferred to a paper by way of transferring technique. Also the way Warhol thought of his paintings as a decorative elements and made a couple of his paintings into wallpapers or exhibits his painstings wall to wall demonstrates his close alliance with the textile design, let alone his comercial design background. In this study, I examined the inter-relationship between textile design and Pop Art. To carry out this study, I examined the comsumption culture: and the biomorphic relationship of culture and art: and Pop art and its transience stage. The major finding of this study is there exists a common denomenator between textile design and Pop Art, especially of Andy Warhol's.