• 복식
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• 제57권3호
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• pp.90-107
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• 2007

Modernization movement has affected classical operas. Today, classical operas are often re-interpreted from the modern perspective and played differently only with the storyline maintained. Also, operas are increasingly performed outside traditional theaters as the boundaries between stage and audience become less obvious. Accordingly, stage costumes are being differently designed than before. New attempts are being made to look costumes in a harmony with increasingly streamlined stage machinery. This helps increase public attention on operas, consequently promoting the opera industry. This study examines modernization of opera costumes. For this study, the author worked as one of costume design staff for "Faust," which was played in Sungnam Art Center from November 24, 2005 to November 27, 2005 in commemoration of the opening of the center. The following outcomes of the crowd are drawn from this study. A variety of splendid pink dresses, ribbons, dolls, hand mirror, and hair bands were used to express haughty girls with "Princess Syndrome." Fashion models, the envy of all woman, wore fashionable clothes including luxury dresses, fur-coats, high heels, purses, and hats, Models also had big shopping bags and gift boxes to symbolize shopping lovers in a modern society. Gay men wore tight leather trousers and vest and sleeves shirts with deeply cut neckline to express their preference for feminie style. their clothes were splendid colors that normally women liked such as gold, purple, light green, scarlet, and silver. Soldiers were in combat uniform representing their participation in the war. In particular, clothes stained with dirt, iron helmet, crutches, and canteens were used to vividly express soldiers coming back home from the war. Modern opera costumes now help reduce the time and space between stage and audience, improve economic efficiency, and meet the audience's needs for various style.

• 디지털융복합연구
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• 제15권2호
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• pp.301-307
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• 2017

디지털 기술의 발달로 모호한 감성의 자극에만 집중하며 만들어지고 있는 상업영상 들이 영상문화 전반에 트렌드 같이 번지고 있다. 2016년 한국영화의 천만관객 영화에 가까운 성공을 거둔 영화들의 모습을 살펴보면 여론몰이를 하는 사회적 현상만 존재하고 영화의 참 실체는 없다는 공통점을 찾을 수 있다. 이에 필자는 680만 관객을 동원하며 사회의 큰 관심을 받았던 영화 '곡성'을 중심으로 앞서 언급한 문제점을 관객들의 일반적 반응등과 같이 분석, 나열하고 이에 대한 올바른 개선점 등을 도출함으로써 영화예술이 대중예술의 격과 깊이를 계승, 발전할 수 있는 길을 모색하고자 한다. 문화, 철학, 종교, 역사 등 인류사회가 공유하는 문화유산의 깊이 있는 사실적 반영은 사회구성원의 문화적인 정서의 동질성과 공감 확보를 위한 필수 명제라고 할 수 있으며 이를 바탕으로 감독이 전하고자 하는 메시지나 내용이 표현 되었을 때 시간과 공간을 뛰어넘어 영화사에 각인되는 진정한 대중예술 콘텐츠가 만들어 질 것이다.

• 한국연극학
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• 제52호
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• pp.229-270
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• 2014

Ostermeier's Hamlet has no particular contemporary reinterpretation. Alternately devoting to show retrospect in illusion and existence through revenging actions. However, Shakespeare's metaphorical and implicative language is dissipated and the style of the play is not an illusive space-time, but a tragic theatrical production that uses rough language to express the depth of the story. The Perfomance of Hamlet is a sensuous jumble up of a diverse range of mass media. The double roles that the actors carry out give an affect of isolation between the audience and the play itself showing both empathy and liberty. Ostermeier's Hamlet distinctively shows a post-modern performance through the prominent elements of dirt, the use of mixed genre, theatric emphasis, making an image and the fulfillment of acting. Nonetheless, Ostermeier's performance stays off the point on the breakup strategy of the post-modern drama without suspending the narrative of Shakespeare's Hamlet. Besides aiming to show a performance centered by the imagery of physical expression, his performance shows New Realism in the 1960's, showing everyday life. Ostermeier thinks, that theatre helps give contemporary people an accurate reality check in the constant unstable periods of time. Therefore, Hamlet shows post-modern physical expression and outspoken dramaturgy using the effects of mass media in New Realism without breaking up realistic narration. With being the aberration of the Castle Helsingor, the main character Hamlet, expresses lunacy and can be considered as metaphor for young adults whom are broken down and isolated from the economic system. He is a substitute for those who experience agony, anger, torment, etc. and other suppressed emotions in everyday life. With the method of direction in the portrayal of Hamlet show signs of succession in the abundant popularization of the classics by communicating with the audience by following the trend of modern mass media and audio-visual perception; emphasizing the point of the philosophical topic 'life and death,' 'life and theatre,' and 'illusion and reality.'

• 복식
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• 제62권7호
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• pp.150-169
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• 2012

Contemporary fashion broadens its image in relation with architecture and incorporates architecture in its creative field. The aim of this research is to investigate the characteristics of 'architecture for fashion' in a social context and to verify the collaborative characteristics of post-1990s fashion and architecture. This paper describes architecture as a means of expressing contemporary style and identifies social consequences resulting from this. While high fashion in the early to mid-twentieth century followed a similar trend evident in architecture to directly apply architectural elements into the creativity of the works, high fashion from 1990 extended its creative field by using architecture to symbolically represent its image and style. In line with the possibility for fashion shows to be considered as a performance art, the potential of collaboration between architecture and fashion as an installation with audience participation is discussed. Architecture, for fashion, provides significant grounds for fashion to be recognized as a parallel, independent sphere of art. Contemporary fashion, either by itself or through collaboration with architecture, comprehends space in its zone of creation. The collaborative characteristics of post-1990s fashion and architecture is verified through case studies of the three fashion houses, 'Armani Group', 'PRADA' and 'Comme des Garςcons.'

• 한국실내디자인학회논문집
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• 제21권3호
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• pp.58-66
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• 2012

In the modern era, perceived as the century of culture, the pure meaning of information in various medium is becoming extinct and the distinction between media and reality being faded away. Such phenomenon is called "simulracre". Gilles Deleuze defines "simulracre" as an event that passes by momentarily. To the modern people, the museum should be sublimated into a space that reflects not only the various surroundings but also education and should be a space that can provide diverse experiences. For museum exhibit communication, storytelling is a method that can meet the need of audience and take one step forward in educational and emotion aspect. Considering such relationship, "event" can be an evidence to build a space by establishing relations with subject and determine the meaning of space. First, characteristics of event and requisite and the theoretical view of storytelling will be examined, followed by the analysis of event storytelling by selecting Holocaust Museum which attempted a new approach that has dealt with what is important to the Jews: 'holocaust'. The purpose of this study is to identify how "event", not remaining as an abstract term, is being present in Holocaust Museum with a new spatial perspective, and to provide the public with a different set of thinking and experience.

• 한국언론정보학보
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• 제18권
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• pp.63-97
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• 2002

본 논문은 텔레비전이 시사토론 장르를 어떻게 구축하고 있으며, 그러한 장르적 양식이 사회적 공론장으로서의 공적 토론에 어떻게 의미를 부여하는가에 관심을 갖고 텔레비전에서 방영되는 시사토론 네 편을 대상으로 2001년 6월 한달 간의 포맷, 주제, 참여자, 통용되는 지식 등을 텍스트 분석하였다. 그 결과 텔레비전 토론은 시사성 주제, 심야편성, 논쟁적 토론, 찬반구도, 생방송 등의 특징적 틀을 공유하고 있었으며, 특히 정책토론의 경우 거의 똑같은 형식과 내용을 반복하고 있었다. 이 들은 경성/거시적인 주제, 권위적이고 조직적인 진행, 전문가와 남성으로 구성된 패널, 집단적 이해의 반영, 제한된 수용자 접근권을 공통적인 특징으로 보여주고 있었다. 토론장르가 수적으로는 활성화되어 있지만 획일적인 관습의 반복에 따라 결국 공론장의 다양한 가능성은 엄격하게 재생산되는 관습적 틀 속에 함몰되어 양식만이 재생산되는 모습을 보여주었다. 가치토론장르에서 새로운 시도가 나타나고는 있지만 보다 민주적이고 심층적인 토론을 이끌어내기 위해서는 장르관습의 전반적인 변화가 요청된다.

• 한국실내디자인학회논문집
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• 제12호
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• pp.10-17
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• 1997

The lastest art is being characterised by an ever active exchange between different genre. This is a study on the installation aspect in deconstruction architectured and interior design. The progressive and aggressive nature of installatation art embodies uncatagorized genre, the freedom of material application, introduction of the notion of time in space, the reversion of subject and object, the union of art and every experience, understanding of object through deconstruction, enlargement of concept of space, collage-style composition and layer technique. I can conclude that the installation aspect in Tshumi's Parc de la Villette is its call upon the audience to actively participate, the introduction of a coincidental conjunction, its challenge on the conventional idea of park and its flexibility caused by human activity and time. In Hadid's Hong Kong Peak Club the installation aspect is the application of layer technique using four enormous beams horizontally laid out on a man-made moutain. Furthermore, Libeskind's pursuit of the mental in Berlin Museum Extension through the penetration of an invisible line into a void creates a new interpretation of the role of a museum and thus relates itself to installation art. The installation aspect in Himmelblau's Vienna Roof Renovation is the literal deconstruction of the roof of an old building in the old section of Wien and the expression of time and space through the interrelationship between interior and exterior environment by the use of juxtaposition technique. Finally, I note that the installation aspect in Gehry's Santa Monica Residence is the reorganization of cheap material as a form of 'object', that creates spon-taneity, movement as well as flow of time in space and ex-hibit the double-sidedness of the visible world.

• 한국멀티미디어학회논문지
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• 제21권10호
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• pp.1211-1220
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• 2018

Maya Deren is well known as the 'mother' of the American avant-garde films by her first short, Meshes of the Afternoon (1943). One of the major contributions of Maya Deren's theoretical body of work to the visibility was the invention of a new vocabulary for independent film-making such as 'film-poems', and 'choreo-cinema'. To create experimental film forms, she chose poetry, dance, architecture and music as a metaphor to describe her images. On the top of these arts, Maya uses camera works and editing system to achieve an 'artificial reality' whose character is miraculous in that living whole, in order to help the audience to experience a protagonist's psychological journey.

• 복식문화연구
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• 제30권2호
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• pp.173-188
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• 2022

The purpose of this study is to analyze the collaboration and artification of the Issey Miyake fashion brand and to suggest the best course of artification that can secure the brand's value. The research methods are as follows: i) identifying the companies' strategy and flow through collaboration concepts and examples from Issey Miyake; ii) selecting Issey Miyake fashion brands and carrying out a literature review through websites, articles, and books; and iii) examining prior studies on the relationship between fashion and art. Results are as follows. The exhibition is divided into spaces for brand intangible assets, artistic collaboration with partners, art co-creation, and the aesthetics and tradition of the brand. Using exhibitions to share the artistic work of collaboration partners is expected to positively affect the brand's likability. The exhibit shares art collaborations in display cases for clothes and photographs. Artists and brands appear as an extension of the creative space and convergence design area. The artist's improvisation forms the creative space that communicates with the audience, and the convergence design area is expanded through the unifying organic connection between the various media in the fashion brand. The photographers and brands section displays the nature images of Pleats Please, as well as human and prism garment images. In these images, the viewer can perceive a story in the interplay between the human body and nature.

• 한국실내디자인학회논문집
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• 제24권5호
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• pp.144-152
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• 2015

In modern city, art museum is regarded as significant institutions because it includes educational roles beyond the means of facilities for historical exhibitions. Based on these flow, various research of museum's space with view from the operational point to the spatial analysis point has been approached. Moreover, it is required to address human behavior in art museum space on the ground that lots of audience move simultaneously. In the field of interior architecture, it is also necessary to analyze how design elements affect the human behavior directly and use the method of controling a circulation. In this research, based on the role and importance of the basic components of the interior space, re-interprets the exhibition space based on the relevant theory, to comprehensively examine the influence the shape of the space is on the substantially walking behavior. Therefore, first is to determine whether the spatial type corresponding to the position of the connectors in the exhibition space. Second is to conduct the investigation observation for gathering the actual viewing exhibition circulation. Finally, it analyzed whether the observed actual circulation and planned circulation matched. As the result, the position of the connectors is that causes the difference of the spatial configuration, which affects the viewing circulation was found. The significance of the research is to present the form to plans of the interior space as a method of reducing congestion perception of viewing circulation.