• Journal of Information Technology Services
• /
• v.8 no.3
• /
• pp.209-221
• /
• 2009

The successful mass media drama, 'The 1st Shop of Coffee Prince', has received lots of supports from the audience by showing them a vivid life and also enabling them to dream a real fantasy. One among the most powerful strategies that made this drama stay successful is the marketing value of the drama space fully maximized when doing the production. This study, introducing a unique representation of 2-D cell matrix with x-y plots of drama space set along the time stream following the scenario, first proposes a quantitative way of uncovering the hidden relation between drama space and scenario using nonlinear matrix filtering method and, secondly, suggests possible service designs mainly constrained by economical standpoints of the stakeholder in producing the drama. The methodology may invoke a plausible contradiction with art instincts that have hardly been supposed to be affected by financial debate, which, nevertheless, must sometimes be allowed under the circumstance of pursuing optimality in programming and producing the drama that must survive in the world of competitive market of service business.

• The Journal of the Korea Contents Association
• /
• v.10 no.2
• /
• pp.155-164
• /
• 2010

This dissertation is considered a historic generation that Chinese film $6^{th}$ director remembers through their life. Also it is figured out historic anguish and hurt how it was remembered and appeared in film. They have made actual films through their efforts which are different from the conventional generation. In addition, between memory and oblivion the time's signification in the history is showed how what way can be represented. It was presented the time's anguish through memory's metaphor in Chinese film $6^{th}$ works. Also, it was shown the existence's reality from dream was losing as memory was hiding between desire and despair. Additionally, the self of daily was expressed to unconcernedly accept reality, and its against the unchangeable world's eye and memory. The $6^{th}'s$ films' desire was expressed passive appearance to accept reality with losing dream in these three things; cannot be reality in the process to figure out own natural character, and appearance to keep traditional character, finally gradually changing reality. When $6^{th}$ directors analysis the history as memory, social repression follows family's repression, family's repression brings personal repression, and then repression changes to desire, finally the life as a reaction could be maintained. In conclusion, personal desire was covered for fantasy, and the overcoming figure was represented. Moreover, Chinese face that $6^{th}$ directors have memorized was presented through these sentiments.

• The Research Journal of the Costume Culture
• /
• v.24 no.5
• /
• pp.670-686
• /
• 2016

The purpose of this study is to delineate and analyze the expression of the kidult and its characteristics and thereby provide data to be used for fashion design in various manners as well as to suggest creative and varied possibilities of fashion design. As a way to study, the author of this paper organized the general terms, concepts and definitions concerning the kidult in the previous papers and journals. The data was collected from the collections represent the characteristics of kidult especially from 2006 to 2015. The results are as follows: Firstly, The characters stimulating the innocence of children were used the most for infantile expression. Parody used characters in the movie or famous logos. Deformation was used to create designs by way of distortion and deformation. Exaggeration thereby showing visually strong impression and inducing surprise and unexpectedness. Depaysement was useful to let us describe concepts and enhance our infinite creativity and interests about objects using surrealistic. Secondly, Infantile characteristics used the images of toys with infantile imagination and sense of humor. Fantasy introduced objects or expressed a dream-like feeling. Unexpectedness used two-faced ideas or conflicting ideas to express conflicts, collision and an interchange with heterogeneous things, avoiding the limit of size and the simplicity of materials. Parody used jocular expressions, satire and ironic expressions to express the original image in a fun manner. Exaggeration transformed changed the structure to restructure objects in a subjective and creative manner, thereby expressing creative patterns using various subject matters by way of special modeling or distortion and transformation.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.12 no.1
• /
• pp.1-10
• /
• 2010

The purposes of this study are to review the Chinese traditional patterns and to apply one of them, the Peony Blossom pattern into modern textile designs for fashion For this purpose, first, the categories and symbolic meanings of the patterns existing in the Chinese traditional clothing from literature were reviewed. Second, the Peony Blossom patterns of Chinese traditional patterns from literature were reviewed and selected one of them, Third, authors applied the Peony Blossom pattern to creative textile design which would fit to appetite of people lived in modern society. The results were as follows: The patterns of Chinese traditional clothing could be classified as animal pattern, plant pattern, nature pattern, character pattern, lucky token pattern, geometric pattern and so on. All these patterns contained individual symbolic meaning, which varied according the different wearers. Moreover, it endows a peony blossom pattern of Chinese traditional patterns with modern style and purposes the textile design. The theme of the design is "Luxuriant Outing" with the concept of "Dream in Fantasy". The design target is the female born in the 1980's, that is, the target population between 20 and 30 years old. In addition, it is designed for the romantic one-piece. This paper perceives the national spirit revealed in the Chinese traditional patterns and designs with the combination of traditional culture and modernized technique of expression.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.16 no.4
• /
• pp.15-25
• /
• 2014

The purpose of this study is to promote the artistic value and formative aesthetic of clothes in daily life through a proposal of inventive fashion design by utilizing Depaysement of Surrealism, which visualizes a more realistically and more specifically than fact in illogical and unfamiliar situation, Focused on details of Korean traditional costume silhouette. The method of this study, the literature and existing researches related to Depaysement were analyzed through theoretical review for establish the expressive techniques of Depaysement expressed in contemporary fashion. Conclusions from this study are as follows: first, the expressive techniques of Depaysement are derived that are 'change of scale', 'change of materials', 'combination of heterogeneous objects', 'arrangement of object in a strange space', 'overlapped object', 'paradoxical image', 'variable awareness of boundary.' Second, expressive techniques of Depaysement present a new methodology which can express an irrational thinking, which is not controled by reason such as unconsciousness, dream, and fantasy etc, in a way that is easier and more realistic rather than thinking centered on an art which is ruled by consciousness. Third, unique and free-form fashion design, which destroys a general idea, was could develop by using abundant materials and composing items borrowed various silhouette for expressive the techniques of Depaysement. Forth, Through this study, the concept of Korean fashion design, that was limited by the standard form when we approach Korean fashion design as identity of social culture, ideology of reflection and expression, object of commercial expression, was could think outside of the box.

• Sim-seong Yeon-gu
• /
• v.28 no.1
• /
• pp.1-49
• /
• 2013

This article started with 'encounter'. Both authors met around the middle of February and discussed the subject for the inhospital conference presentation scheduled at the break of June. Having conversation like "Movies similar to fairytales heard from childhood are standing out conspicuously among commercial films which are attracting audiences and receiving fervent response these days. This phenomenon is marvelous and mysterious." together, and sharing this and that, the conversation turned naturally to 'Bram Stoker's Dracula', 'Series of Twilight', and 'Warm Bodies', both authors found out the fact that we saw these movies in common with propound impression. Feeling our hearts beating high, bit of fear and hesitation followed simultaneously at the moment when both of us encountered the idea to choose subject of conference presentation related to this and expressed one in words. While preparing for the conference, presenting to others, and having discussion with the audience, our hearts have been filled with Presentation was finished after active discussion beyond fixed hour and it also brought audience (among those present) to show strong emotional response both positively and negatively. At first, we just had a thought to put aside the content of presentation, but we felt lack of something else, lingering in our minds. We finally decided to accomplish our work into an article leading to submission, based on the advice and recommendation from one of the audience. This article is a small 'creative writing' born by sharing both authors' passion and enthusiasm. In the first part of this article, we have introduced the dream of 31-year-old woman's which led to the 'creative writing' and spotlighted her personal life, before and after the dream. In the second part, we have examined the consequence (way of realization) and meaning of creative impulse shown from or experienced from personal unconsciousness (dream, fantasy) together. Creative impulse shown from the individual appeared to bring creative transformation of individual personality through the process of 'introversion'. Otherwise it also appeared to be delivered as a masterpiece through 'creative writing' or from the process of 'extroversion'. Sometimes both consequences happened at once. We tried to examine and interpret the dream of 31-year-old woman's, which was introduced in the first part of this article, that is to say, the dream of 'Stephenie Meyer's, the author of the 'love between vampire boy and ordinary human girl' themed novel 'Twilight Series', in a psychoanalytic perspective. In the third part, highlighting individual dreams and three different movies 'Bram Stoker's Dracula', 'Twilight Series', and 'Warm Bodies', we found the transformation of symbol 'Man of Darkness, vampire' seen in each individual dreams and in some specific popular arts, such as novels and movies, receiving fervent response from people. We also found love between this symbol and humane woman, bearing fruit together with very impressive change shown in the attitude of 'Man of Darkness' (vampire)'s conscious ego and mutual relationship pattern. We contemplated this phenomenon, the reason why these events happen, and what kind of association presents among these events, individual, and this era and discussed the effects on individuals and this era, at present. 'Creative impulse', originated in the deep structure of human mind is realized as a 'transformation of individual personality' or masterpiece through artistic creation. If it has a chance to make a match with this era, shared by a lot of contemporary people, it also appears to bring positive effect as healing and salvation to each individual or to each era. From this article, we mainly highlighted positive and healing aspects of individual 'creative impulse'. We hope to deal with the negative consequences and their reason coming from 'creative impulse', if the occasion arises, in the future with a new article.

• The Journal of Art Theory & Practice
• /
• no.7
• /
• pp.7-36
• /
• 2009

This paper intends to examine the significance of the "Minjoong Misool(People's art)" of the 1980s emerged in Korea in its social, cultural, and art historical context. This paper also aims to provide an analysis of the meaning and form of the individual artist's works, which have been overlooked under the dominant discourse that has emphasized their political role as a collective group. In particular, this paper scrutinizes the work of "Critical Realists" by examining the way in which they perceived Korean society in the early 1980s and visualized their experiences of the period. The figurative art newly emerged in the early 1980s challenged the formalist Modernism, which was adopted into Korea and translated into monochrome paintings and the work of the conversative academicism of the 1970s. The figurative art encouraged a social communication and moreover it intended to criticize the conflicts in the political, economical, and social domains in Korea. The targets of its critique include the unavoidable results of the unprecedented development of economy, various social phenomena of the post-industrial society, and the growth of the commercialized kitsch culture. Along with Shin, Hak-chul's work that incorporates collage technique since the 1980s, the work of some members of "Reality and Utterance" and "Im- sul-nyun" exemplify their critical interests in disclosing the false dream of wealth and happiness by both referring to and drawing on the utopian fantasy manipulated and distributed by mass media and commercial advertisements. This paper pays particular attention to Nouvelle Figuration emerged in France and Europe during the 1960s, which is comparable to the new figurative art emerged in Korea during the 1980s. Nouvelle Figuration criticized the autonomy in art isolated itself from political and social reality after WWII, in particular the indifference of Informel and abstract art as well as American abstract art. Moreover it became rather politicized around May of 1968. Given that French Nouvelle Figuration was introduced in Korea in 1982 and made a significant contribution to the formation of figurative art in Korea, it should be noted that the new figurative art emerged in the 1980s in Korea cannot be categorized merely in relation to People's Art. This paper intends to critically redress the notion that People's art was formed in the particular political, economical, and cultural context of Korea independent of the contemporary artistic practices outside Korea. It will provide a critical examination and analysis of the content and form of the new figurative art, from which People's Art was germinated, in the global context.

• Journal of Christian Education in Korea
• /
• v.72
• /
• pp.147-164
• /
• 2022

Stories have been studied as an important educational method in Christian education. In recent discussions on religious education, stories are positively evaluated in terms of stimulating children's unique fantasy, as opposed to visual media, and in terms of face-to-face direct communication. Our most profound and passionate orientation to the world is shaped by stories. This is because stories move us by moving us and shape our unconscious to act accordingly. However, the subjects that supply stories to children now are various mass media and consumer culture. The story it tells instills a secular worldview and makes us dream of a world completely different from the kingdom of God. Our children need a story to imagine the kingdom of God. This paper focuses on story-style sermons in children's worship and tries to deal with the Christian educational implications of story-style sermons. To this end, first of all, I would like to treat the Bible as a story according to the approximate concept of the story and the position of literary criticism who approached the Bible as a story. The second will deal with narrative preaching. First, we will look at narrative sermons for adults, and then deal with narrative sermons for children. The two narrative sermons were treated separately in the sense of considering the characteristics of children rather than being separated. Lastly, I would like to draw out the Christian educational implications of narrative preaching.

• Journal of Popular Narrative
• /
• v.26 no.3
• /
• pp.221-254
• /
• 2020

This paper finds a solution in the social context which cannot be explained thoroughly by well-timed release date, revival of comedy films, and the attraction of Lee Byeong-heon's comedy etc. while it throws question of how the film, Extreme Job captivated 16 million audience. The incredible hits of Extreme Job cannot be explained by analyzing the text alone. After this essay investigates a function and a role of comedy as a public sphere, it examines people's desires and wishes in the comedy and other genres since 2008 when the conservative government has seized power. Since 2008 a series of dark tone's action thriller, social problem film, and disaster film have emerged, these genres showed absence of public security, crisis of democracy and criticism against rulling class. On the other hand, hit comedy films have showed escapism such as weepie, nostalgia, and fantasy at the same time, generally. Although Veteran (2015) is not full-blown comedy, after this film's big success, "comic mode" has gradually revived. A light tone's films which are truer to genre rules has started representing the wishes of people toward social reforms and changes. Meanwhile, "Candlelight Protest" served as a momentum to recover the democracy which has been in crisis, but it could not lead changes in economic and daily lives. Exreme Job can be read as a question how we will survive since "Candlight Protest." The lives of detectives as self-employed workers who has taken over a fried chicken restaurant for going undercover are appearances of ordinary persons who must survive in the edless conpetition. Furthermore, this film shows a dream of a "great success myth" which becomes well-known as a famous restaurant and a self-management such as brand-naming and an exapansion of franchise business. We can read ganster's chicken franchises as a huge distribution industry which disturbs market system by delivering drugs secretly. While applauses that we give to the police having identities of self-employed workers which sweeps the ganster are giving support to oridinary neighborhood like us, they are also wishes of people who long for the restoration of publicness of police in the market which is becoming increasingly privatized today. A significance of this essay is to examine Extreme Job in terms of the geography of film genres and the revival of comic mode sicne 2008 at the macro level, and is to read the film in the perspective of the problems of economic and daily lives which has been still unsolved since "Candlelight Protest" at the micro level.