• Journal of the Korean Society of Costume
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• v.53 no.5
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• pp.33-48
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• 2003

The purpose of this study was to define the moaning and features of humor in modern fashion. by examining how it's being grafted into fashion, based on artistic expression including collage, assemblage, photo montage, graffiti, transformation, distortion, exaggeration and optical illusion. Beside. humor of fashion is to examine not only laugh and fun but also formative expression and creativity. Furthermore, it is to enlarge the range of conception for future fashion. The findings of this study could be described as below: The features of humorous fashion by collage and assemblage boiled down to unexpectedness, disharmony and creativity. The photo montage was marked by popularity, reproduction and recreativity, and graffiti was characterized by attention, simpleness, and amusement. And there were unexpectedness, creativity and strangeness in transformation, distortion, magnification and optical illusion. The meaning of humorous fashion that carries such features could eventually be summarized into the followings : First, the fashion, from which collage, assemblage, photo montage. graffiti, transformation, distortion, magnification and optical illusion were detected. could be sorted out into several categories that used different things : introduction of objects of different nature, dramatic impression and wit based on photo montage technique, introduction of comic components and infant image, and destruction of aesthetic principles. Second, the substance of humor in art could be applied to fashion design as well as visual art. Humor is a property related to accidental, unexpected incident, behavior, situation or idea, and it puts laugh, disharmony or awkwardness in fashion. Third, spicing fashion with humor could serve to draw people's attention, break down the barrier among people exposed to dry sentiment, and connect the public with art.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.4
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• pp.111-126
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• 2011

Cultural collage phenomena came to the fore where various differing elements combined to make a reality in the post-modern culture. Collage, a technique with which to express a unique sense of texture has been used since a long time ago by fashion illustrators, finds itself expressed in much more diverse forms and characteristics, and its meanings changed, too. The purpose of this study is to analyze the formative characteristics of collage as expressed in fashion illustrations since 2000s and look into its aesthetic meanings, and in doing so, examine effects of changes along the times that have sought plural diversity on fashion illustrations. This study selected and examined from various collage techniques three collage expression techniques including papier colle, photo montage and assemblage frequently used as techniques of fashion illustrations. Papier colle technique expressed in fashion illustration simplify forms, thereby stressing linear elements, and express lines and planes At the same time, such works provide depth to planar spaces by overlapping objects and putting together differing elements, In fashion illustrations utilizing photo montage more than one images taken from photos are cut up and reconstructed, where illusory and sometimes shocking images are conveyed through particular forms or unrealistic compositions created by casual combination of unrelated images. Unique and eccentric images are conveyed by means of assemblage through the combination of various kinds of heterogeneous materials in fashion illustrations. This not only conveys fashion images sensitively but presents each fragment as objets regardless of its original functions, and attempts at new concepts.

• Trans-
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• v.3
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• pp.29-53
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• 2017

The film scholar Vincent Amiel divides into three types of montage through his book The Aesthetics of Montage ; Montage narratif, Montage discursif, and Montage decorrespondances. These three categories are the concept that encompasses the aesthetic class to which most movies belong. Early films pursued the essential and basic functions of editing, which tend to be modified in the direction of enhancing the director's goals over time. In this way, "Expressive Montage" is one of most important concepts of montage, not as a 'methodology' that combines narrative but as a 'purpose'. In the montage stage, the expressive montage work is done through three steps of decision. The process of 'combining' to combine the selected films in a certain order, after the process of 'selection' which selects only necessary parts of the rush film, and 'connection' to determine the scene connection considering the duration of the shot. The connection is the final stage of the montage. There are exceptions, of course. When fiction films of classical narratives use close-ups, or when using models or objects of neutered animals, the film induces the tendency of a "montage decorrespondances" rather than a "montage narratif" or "montage discursif". This study attempts to analyze the tendency of montage of works with 'uncertain connection' through 'collage' used by close-ups and montage decorrespondances as 'fragmentation tendency of modern films'. The fragmentation of the montage in contemporary film breaks the continuous and structural nature of the film, and confuses the narration structure that is visible on the surface of the film. The tendency of the fragmentation of the montage, which started from this close-up, seems to give an answer to the extensibility of the modern image.

• The Research Journal of the Costume Culture
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• v.20 no.2
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• pp.129-143
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• 2012

This study focuses on the application of collage techniques to contemporary fashion and intends to show that collage techniques have a significant influence on contemporary fashion, leading to a more creative design aesthetic through the combination of fashion and art. The author carried out an empirical analysis focusing on domestic and global fashion collections from 2000S/S to 2010F/W, fashion publications, and internet data, along with a literature review. As a result, the papier-colle approach, as represented by cubism, showed a creative surface effect through the texture of the paper itself by applying real paper and other materials directly to the clothing items. Second, Dadaist ready-made expressed a distortion of the material and freedom of expression by creating a collage with ready-made fashion items and daily necessities. Third, a photomontage expressed unique images by printing various images of photos that contrasted in perspective. In addition to this, beauty in dissonance and a new sense of space by a collage of disparate material. Fourth, decalcomanie was expressed by printing methods, giving a stable image of the symmetry of the perfect landscape as well as the unintended effect of coincidence in abstract images and particular textures. Fifth, assemblage as the representative collage technique of pop art introduced the overall object itself or modified form by combining it with fashion to express three-dimensional aggregate structures.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.209-221
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• 2019

A found-footage film La France est notre patrie is a documentary, in which archive images are juxtaposed with intertitles, non-diegetic music and foley, by borrowing an audiovisual strategy of silent films. The filmmaker Rithy Panh has excavated the images, which had been taken during the same period as the film history of the end of the 19^th and early 20^th centuries in Southeast Asia and Africa under French colonial rule. This paper examines the filmmaker's methods of historiography when utilizing archive images in order to represent the past by referring to Walter Benjamin's concept of historical montage and dialectical image. As the analysis illustrates the singularity of constructive methods, which include multi-layer viewpoints and montage styles of compilation and collage, it reveals how La France est notre patrie elicits the essay film modes through its self-reflexivity, leads audience to the threshold of critical thinking about time and history and creates a discourse of counter-memory.

• The Journal of the Korea Contents Association
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• v.19 no.1
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• pp.117-124
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• 2019

This paper investigates how digital technology innovates the aesthetic ontology of film images. The modern civilization of computer and internet bring about the new ontology of film images. Digital hybrid image expands the contradictory combination of physical reality and filmic fantasy. It is inevitable to recount Walter Benjamin' s concept of mechanical reproduction in the age of digital cinema. The modern condition of image arts changes the concept of mechanical reproduction to the logic of digital configuration. In addition, computer simulation innovates the film aesthetics of montage to the aesthetics of digital collage. The technological and aesthetical development of computer simulation and internet network leads to the new ontology of digital hybrid images. This study suggests a new theoretic point that the aesthetic ontology of digital hybrid images leads to the expansion of filmic fantasy and expression.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.4
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• pp.118-130
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• 2017

During the landscape design process, landscape architects produce various forms of drawings to visualize the future designed landscape. This work thoroughly examines the process of the utilization of James Corner's theory and practice of representation. Since the early 1990s, Corner has explored the characteristics and functions of landscape architectural drawing theoretically. Specifically, Corner argued that the use of visual representation makes it difficult to achieve the full embodiment of all of the multisensory characteristics of a landscape. Thus, he explored new drawing techniques that alternatively visualize the landscape and generate creative ideas(i.e., imagination of drawing), rather than a realistic illustration of not-yet-actualized landscapes(i.e., instrumentality of drawing). Corner's theory has evolved throughout the mid and late-1990s as applied to landscape practice. Corner embraced ecology and implemented the theory and practice of Landscape Urbanism, thereby once again emphasizing the instrumentality of drawing. Whereas the early theory mainly explored a perspective view using collage and montage, Corner later began to stress the importance of the instrumentality again. For example, Corner employed a mapping technique based on the instrumental map and that simultaneously creatively transforms it. Corner's theory and practice of representation fully explored the identity of landscape architectural drawings and reflected the interaction between theory and practice. Thus, his design and theoretical works continue to have significant influence on present landscape practice and theory.

• Journal of the Korean Institute of Landscape Architecture
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• v.33 no.1 s.108
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• pp.93-108
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• 2005

Fresh Kills is the largest landfill in the world located in the west side of Staten Island, New York. The landfill served as a storage area for New York City's trash for more than 50 years. After years of civilian and political pressure, state and local legislation decided its closure of landfill operation in Fresh Kills in March 2001. Soon after, Department of City Planning announced a Fresh Kills international design com-petition: 'Landfill to Landscape'. The winning entry was promised to be outline for the redevelopment of the 2,200 acre site which the size of three times Central Park. Forty-eight teams representing more than 200 offices from around world submitted proposals, from which six finalists that mostly led by landscape architects were selected. In December 2001, a jury of architects, landscape architects and city officials unanimously selected Field Operations as the winner. The plan, named Lifescape, visualizes the gradual 20-year transformation of the whole Staten Island into a 'natural lifestyle island' recognizing that Staten Island is home to coastal wetlands that shelter one of the most diverse ecosystems in the New York metropolitan area. It suggested that an ecologically reconstituted Fresh Kills could become the center of integrated parks and greenways system on the island otherwise fragmented. The project will be one of the largest and most ambitious undertakings in the metropolis in years developing a complex web of habitats and parklands on top of mountain of trash. This study tries to achieve two goals: One is to provide general explanations on the project, Lifescape, breaking down to its background, geographical context, design concepts and phased development plan. Another is to introduce the unique and innovative design approaches by Field Operations that are different from a conventional landscape architectural attitude. Since this project was well published through many magazines and newspapers, main focus will be upon aspects that differentiate this project from usual landscape projects. Conceptually Lifescape brought provocative notions on nature/culture relationship and the role of urban park as an active agency rather than just a green rest area. Also this project introduced pioneering graphics like plan collage, diagrammatic plan, phasing diagram and photo montage as vehicles conveying information, imagination and provocation. Witnessing the influence of the project gradually in the field of academic and practice in the States, this study is intended to become a constructive reference to similar landscape projects dealing with large and complex urban context in conjunction with restructure of contemporary city.

• Journal of the Korean Institute of Landscape Architecture
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• v.46 no.2
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• pp.1-13
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• 2018

This work discusses the major roles of digital technologies in the history of landscape architectural drawing, and offers a critique of the dominant trend towards realism in recent digital landscape representations. During the period of transition from conventional drawing tools, computer technologies generally functioned as mechanical tools to imitate prior manual techniques. Specifically, the GIS was served as a mechanical tool to efficiently process the manual layer cake; CAD software generally functioned to translate physical models to two-dimensional construction documents while graphic software generally functioned as a tool to perform processes similar to those of manual collage and montage techniques. Recent digital landscape drawings tend to adopt a realistic depiction like the painting of landscape appearance. In the representations, discernible traces of cutting and assembling are removed via graphic software; thus, the complete representations are perceived as if they were a copy of an actual landscape. The realistic images are an easy way to communicate with the public. However, it is difficult to achieve a full embodiment of all of the multisensory characteristics of a landscape through these visuals. They often deceive viewers by visualizing idealized conditions of not-yet-actualized landscapes and production of the final images takes up a large portion of the overall design process. Alternatively, 3D digital modeling of landscape performance and creative uses of digital technologies during the overall design process, as well as hybridized techniques with different drawing techniques and technologies, provide the opportunity to explore various aspects of a landscape.

• Journal of the Korean Society of Fashion and Beauty
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• v.6 no.2
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• pp.119-128
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• 2008

The surrealism art form comes from the world of unconsciousness. Based on its expression of the world of imaginary, it boldly demonstrates the arrangement and the forms of contradicted objects and the development of collage, montage, and protage techniques in the works which had a big influence on the growth of the modern art. The ideology and the modeling characteristics shown in the surrealism had various expressive forms and meanings in the modern compound expression and it grew out of the former standarlized forms and brought diversity and individuality based on the sensibility of the new avant-garde art form and showed great potential as it presented harmony in the multiple forms of art. The purpose of the research was to analyze the influences that were put on the surrealistic fashion art works and the works of the representative designer, Jean Paul Gotie. The characteristics of Jean Paul Gotie's surrealistic fashion comes from destruction, sexual image, and the mixture of heterogeneous. It is evident that the surrealistic fashion went beyond certain groups of avant-gardists' salvation of the world and were put to practice use, reaching out to the ordinary consumers. This was resulted from the revolutionary movement called, "anti-mode van fashion" led by Gotie. The surrealistic style will be led by various techniques and trends and developed through new characteristics in multiculture merged with various fashion styles.