• The Journal of Art Theory & Practice
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• no.6
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• pp.27-50
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• 2008

This thesis examines contemporary Chinese painting after the Cultural Revolution(1966~76), focusing upon so-called "Chinese Pop art", which I termed as "Socialist Pop art". I considered the art of this period within the broader context of social changes especially after the Tienanmen incident of 1989. After the Cultural Revolution during which idolization of Chairman Mao was at its peak, one of the major changes in communist China was that an anti-Mao wave was generated in almost every social class. For example, novels that revealed the hardships during the Cultural Revolution were published. Posters that openly criticized the Maoism were also produced and displayed on the walls, and demand for democracy spurred widespread activist movements among young generations. These broad social changes were also reflected in art. A variety of art movements were introduced from the West to China, and after a period of experimentation with the new imported styles, artists began to apply the new artistic idiom to their works in order to visualize their own social and political realities they lived in. It was a shift from earlier Socialist Realism to a new expression either directly or indirectly, "Socialist Pop", an amalgam of Socialist Realism and Pop art tradition. After the 1989 crackdown of Tienanmen Square protest, when communist government quelled with brutal measures the students, workers, and ordinary people who rose for democracy, greater urge to protest the Deng Xiaoping regime emerged. This time coincided with the gradual emergence of art using Pop art vocabulary to satirize the social reality, the Socialist Pop art, along with many other art forms all with avant-garde spirit. One of the most frequent subjects of Chinese Pop art was visual images of Chairman Mao and his Cultural Revolution, and new China that was saturated with capitalism, which tainted the Chinese way of life with a Western way of consumerism and commercialism. The reason for the popularity of Mao's image was spurred by the "Mao Craze" in the early 1990's. People suddenly began to fall in a kind of nostalgia for the past, and once again, Mao Zedong was idolized as an entity who can heal the problems of modern China who had been marching towards their ultimate destination, the economic development. But this time Chairman Mao was no more an idol but just a popular, commercial product. He is no more an object of worship of almost religious nature but he has become an iconography symbolizing the complex nature of present Chinese society. During this process of depicting the social reality, Chinese artists are making the authority and sanctity of Maoism ineffective. Dealing with this new trend of contemporary Chinese art in view of "Socialist Pop art" two manners of re-creating Pop art can be illustrated: one that incorporates the propaganda posters of the Cultural Revolution; the other borrows from Chinese traditional popular imagery or mass media, such as photos taken during Mao era. What is worth mentioning is that these posters and photos of the Cultural Revolution can be identified as 'popular' media, as they were directed to educate the popular mass, thus combination of this ingenuous pop media with Western Pop art can be fully justified as a genre unique to China. Through this genre, we can discover a new chapter of the Chinese contemporary painting and its society, as their Pop art can be considered as self-portraits true to their present appearances.

• Journal of the Korean Society of Costume
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• v.44
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• pp.181-199
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• 1999

The industry of modern clothing has deviated from the overflow of commercialism and the standardization and nowadays is going toward pursuing art, creativity, and high added value. This trend brings the return of the natural materials from the synthetic textiles and increases the value of old and handmade fabrics. Finally, the handmade-paper, which is a natural material, comes to be reconsidered as a new material for the clothing. Therefore, as the natural materials and the manufacture of handmade clothing are rising again, the qualitative improvement and globalization of clothing industry should be first realized through the developments of creative and various clothing materials and new expressing techniques. The above investigation and study have been synthesized and analyzed as follows: First, through the study on the origin of the paper clothing, its historical background and the process of its development, we've learned these two facts following : the paper clothing of the East in the past mostly had practiced meanings. On the other hand, in the West it had meanings which were raised the artist's emotions and beauty-consciousness to the artistic level by the various kinds of expressing methods. Second, handmade-paper was manufactured by the embedding method, which mixed mulberry pulp, gauze, corn, hair, sisal, silk and so on. It was found that handmade-paper had the affluent and proper texture as the clothing material and was be able to control the clarity through the variation of thickness. It was also confirmed that the creative and original texture with hand-worked molding beauty was obtained by the use of handmade-paper. Third, when the handmade-paper is used, the molding beauty of plane, relievo, and solid can be freely pursued, and various and effective molding conformation can be constructed by the effect of superposition and repetition. Also, because the maximum discretion from the various optional manufacturing methods is allowed, the molding beauty can be maximized when the clothes are manufactured with handmade-paper. Fourth, the gauze with strong drape was combined to overcome the stiffness and the tearing of the paper. As a result, the durability and the wearability of the paper were strengthened and thus the thus the applications as the clothing material were enlarged. In conclusion, in order to enhance the value, creativity, practicality, and artistic sense of the design for modern clothing, the clothes made of handmade-paper should be more studied. Moreover, for the generalization of paper clothes, the studies on the development of practical paper with paper with water resistance, post-treatment after dyeing, flexibility, and durability should be done. I really hope that this study will be the motive to provoke the possibility of handmade-paper as new clothing material in not only practical sense but also artistic sense.

• Korean journal of communication and information
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• v.27
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• pp.63-91
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• 2004

The purpose of this study is to investigate the gender discourse of Korean newspapers. For this, the study analyzes the frames of frames of crime news on Chosun Daily and Hangyurae Newspaper for 2 years. The data are collected using KINDS, and include 265 crime articles involving woman. According to the results of this research, the episodic frames are used in the most of crime news. The five frame devices are founded in the episodic frame articles; the male subjectivity and the female objectivity, the male-oriented perspectives which reporters have, the abused sexual details and sensationalism, the emphasis of women body's fragility which imply woman's unavoidability as victims, and finally, blaming women who are victims of crimes. And in the articles of thematic frames, the similar frame devices are found. In particular, they only emphasize the problem of crime and fail to suggest a concrete resolution. Finally, the study discusses the findings relating to the patriarchal news making convention and the commercialism of newspaper industry. The two newspapers have been pursuing quite different political lines in Korean society. It is generally considered that Hangyurae newspaper is progressive and Chosun Daily is conservative. However, this study reveals that the way dealt with women in the crime news are not different. It is concluded that Korean newspapers still produce the gender discourse based on male-centric perspective and patriarchal ideology.

• Journal of the Korean Society of Costume
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• v.32
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• pp.163-182
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• 1997

The purpose of this study was intended to analyze artistic formativeness represented in the modern fashion design materials. Nowadays the modern fashion design materials is characterized by variety. The fashion materials the most important of fashion is called a softwear in textile industry and emerged as a new field. Fashion design also escaped from the tra-ditional restraint and extended to pursue lib-eral clothes and the designer's creative inten-tion has resulted in conceptual and conven-tional alteration as a new mode of plastic ex-preseeion. As a results of analysis of the formative fea-ture of Art style represented in the modern fashion design materials. First Surrealism had been searching for a new way of confronting a social and rtistic environment that was stifling and repugnant to them. Accordingly the wide applicaytion of the various object due to the thought of Sur-realism through the modern fashion materials brought the diversification and individua-lization of the modern fashion design. Second Pop Art that is made modern mech-anic culture and commercialism brought the great transformation in the history of Art out of the existing style and the sense of ex-pression. And the plastic characteristics of Pop Art that has a gravity as modern fashion materials on a them of the elements of popular consumer's society. That is the common and cheap objects were introduced into fashion materials itself or pat-tern. Third Minimalism is a trend in art att-empting to seek essence of the object by presenting simple and disciplined expressions by minimal formative means. The features of external form are simplicity clarity unrelated composition and symmetrical structure. Mini-malism was a quest for basic elements repre-senting the fundamental esthetic values of art. The minimal expression in modern fashion materials mean fabrics with simple surface and is contained using simple geometric pattern or utilizing textiles without any patterns. Fourth Eroticism is a kind of psychological revolution in the development of human civilization and is deeply rooted in the cultural tradition of myth religion customs and art. So Eroticism must be distinguished from a mere animal reproduction. These erotic char-acteristics were holded the meanings of sexu-ality through the modern fashion materials. Especially it was expressed the sexual part of body was nakedly showed through trans-parent materials or semitransparent like metalic and opaque materials. Recently the various kinds of new materials such as paper vinyle plastic metal as well as human body were applied to new fashion de-sign. First of all the new materials will give modern fashion designers stimuli and inspi-ration. It can also express values of moderners to despise materialism and uniformed modern society and to recover humanity and self-actualization.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.8
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• pp.1309-1321
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• 2008

Military style is not limited to a single period but represents various image communications related to items, synthetic images and different periodical culture backgrounds. The purpose of this study is to define the communicational function of the military style beginning from the 1st world war up to the modern days, and furthermore explain the characteristics and contents of military styles in different periods by studying the nowadays various symbols of the military style in denotative and connotative aspects. The research method is documentary studies through the literature and academic paper, and examined masters' and doctors' thesis, domestic and overseas books and fashion magazines, photographs and materials collected from the internet. As a result, first, the military style is a significant fashion code in understanding modern fashion by serving as a strong communication function representing people’s ritual through various image items called the 'military look'. Second, the meaning of the image communication through military look changed throughout the different periods. During the 1st and 2nd World war the military look supported Fascism by serving as a media representing extreme patriotism and at the same time social images like functionalism, women liberation, regulation and saving. During the cold war period it was used by young progressives like hippies and punks to send an opposing message towards war and commercialism. Since then up to the 80s it was a medium representing the ‘new role of women’, who possess same social rights and power as the men. However in the 90s the military style had to go through a paradigm transition period. Since this period it got affected by the post modernism and designers, consumers alike adopted military style to create unique beauty It can also be said that it began to be used as a pure fashion code representing intertextuality. It was rather expressed as a metonymy than a metaphor and combined with elegance and feminine factor, which contrasts to the original military concept, it now represents totally new hybrids such as difference, dissemination and varieties.

• Korean journal of communication and information
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• v.33
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• pp.169-191
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• 2006

Changing our monopoly broadcasting advertising system into free competition system may give rise to serious troubles that intensify commercialism of broadcasting and reduce diversity of public opinion. In the boundaries of public interest out of danger, korean broadcasting system should adopt a system that partially adopts the principle of free market. Broadcasting advertising sale system affect the whole broadcasting system because it functions as an effective capital-resource provider. Thus, it affects the broadcasting policies' righteousness and efficiency. Due to the non-elastic nature of the total advertising market, broadcasting advertising's size affects other media's capital allocation process. Therefore, broadcasting advertising sales system not only affects broadcast's social duty and public interest, but also affects the whole media industry. First, provide fair and open-competitive measures to support broadcast sales policy so that the market-based system can be run smoothly. Second, block any un-due influence from advertisers by separating production/programming and advertising sales. Third, sustain public broadcast system, not based on the advertising sales but based on the subscription fee. Fourth, social intervention of the advertising market. Fifth, provide policies that can set up multiple media channels/outlets and public opinion. By providing the minimum capital resources to the public broadcasting system, the broadcasting system can act on its public-interest duty and support the people's right-to-know rights.

• Journal of the Korean association of regional geographers
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• v.7 no.1
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• pp.21-34
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• 2001

Summarized results of this study that examined the characteristics of farm household in suburban areas classified by the fanning types are as follows. When it was looked into with the side of farm household and his family, the type of the farm household in suburban areas are related to the quality of fanning labor rather than the quantity of it. Regardless of the type of the farm household, it depends upon the family labor (usually men and wives). And the age of farm manager is an important part in the quality of fanning labor. The size of the farm household is related to the individual fanning labor. The size of self-sufficient crops(mainly rice) farm household will be small as the farmer gets to be old. But the size of commercial crops farm household has less tendency to change in terms with the age of farm manager. The fanning commercialism takes an important part in the maintenance and development of suburban agricultural areas. But, in fact, there is a shortage of farming labor. So the physical condition of farmland is the most important part in agricultural durability. After this study, we can conclude that we won't have enough chance to solve the problem of family member separation and shortage of fanning labor even though it is in the suburban area or in the profitable farm until we give them more enough chance to get a job(except fanning) and the better education infrastructure. To make matters worse, the aggravation of farm house-hold's economy due to unstable price of farming products' threatens the agricultural durability. Consequently, in order to get a development of agriculture and rural community, a qualitative change with improvement of agricultural conditions and of products distribution system is needed.

• Archives of design research
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• v.17 no.3
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• pp.293-302
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• 2004

The austere standard for industrial design and the machine aesthetic reinforced modernism and lasted more than a half century. Pop art and Pop design movements, which were opposite of the elite culture, began to appear as anti-modernism in the late 1950s. With the development of technology, the movements helped to establish humanism design style that reflected the life style of young generation and their culture. From the 1960s. it was a try in order to fulfill psychologically users' needs beyond tasks for physical considerations. The efforts appeared as a various appearance in different contexts. It could settle down on industrial design, based on humanism both from the physical and psychological points ol views, through anti-modernism in the 1960s, commercialism, consumerism and hi-tech in the 1970s, and postmodernism in the 1980s. The design, as a specific style in industrial design, delivers both physical and psychological satisfaction to consumers by using a mixture of human emotions with high technology. Accordingly, this study is to find out and to define the design style that was applied by human emotion and sensibility in design history from the 1960s to the 1980s. It will be underpinnings for the next research about how the design style has developed nowadays.

• Archives of design research
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• v.17 no.1
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• pp.37-48
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• 2004

Keiji Kobo is a unique self-generated design research group in Japan, which was founded in 1928 when Bauhaus movement was in its peak, and which lasted ten years until the end of the Second World War, when any activity of the group became virtually impossible due to the war. With insight to see the future, the group aimed at Modern Design advocating a new spirit in architecture, and played a significant role in prosperity of Japanese Modern Design assimilating Western design trends. Pursuing of craft works for everyday life--practical furniture works--Keiji Kobo actively executed various projects to realize modern philosophy. The range of the works of this group was very large: survey, mock-up, experiment, research, exhibition, lecture, order-based sale, advertising and writing. The works of the group were oriented to serious academicism, not compromising with commercialism. Considering the peculiar political situation such as Japanese Militarism, the spirit of functionalism that the group pursued was surprisingly academical and pure. This group was relatively small and clumsy, which lasted as short as around ten years. However, strong motivation was in their seemingly quiet movements, and the influence of the group cannot be underestimated even with today's criteria. There were a number of pioneers who contributed to today's prosperity of Japan and Keiji Kobo can be estimated to be one of the pioneers in the field of design. It was found that the contemporary intellectuals hoped that the committment and activity of the group would contribute to modernization of the life quality of ordinary people. In a sense, Keiji Kobo can be estimated to be a little Japanese equivalent for Bauhaus that could not fully bloom.

• Journal of Korea Entertainment Industry Association
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• v.14 no.7
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• pp.107-119
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• 2020

This study was designed to analyze the social and institutional problems that may arise in the early 2000s of the United States and in the scholarship program for university student-athletes by analyzing Dialogues in the Film [The Blind Side] and to derive the meaning of this to Korean society and education field. In summary, the first is that there is a need for fundamental change in the thinking about gender discrimination and racist expressions expressed in everyday life including a Sport field not only in the United states but also in Korean society. Second, the Korea University Sports Federation(KUSF), like NCAA, is working on the right to study and human rights of university athletes, but in the commercialism of modern sports related to the capitalism, these systems and regulations could be a bigger obstacle to the process of growing young players. And finally, like the case of "Flower-loving Ferdinand" who having a lot in common with the main character, Michael in the Film, I hope that there will be a "Sports Ferdinand" that likes the sport itself, which is fully satisfied with its life and lives happily even if it is not a sports star.