• Cross-Cultural Studies
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• v.23
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• pp.101-126
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• 2011

The principal purpose of this study is to analyse and critique how precisely the representation of women in the film Retrato de Teresa reconstructs the socio-cultural image of the female in the late seventies of Cuban society. The film of Pastor Vega is obviously an outstanding challenge on the new subject of 'women's liberation' against machismo in the context of the Cuban society. Teresa, the female character, as a socio-cultural image of the Cuban society don't focuses on the declarative and iconic images of the women's role as a revolutionary heroin that had appeared frequently in the films of the sixties, but she struggles for getting more realistic and pragmatic values such as women's emancipation to take rights in daily life. Therefore, the declaration of the emancipation of Teresa against machismo of her husband $Ram{\acute{o}}n$ has the special and symbolic meanings of social role and function of the film in the process of Cuban cultural revolution. The film concentrates on inducing the audience to make new perspectives such as women and gender issues in the daily experience of Cuban society where the machista ideologies and practices characteristic of a patriarchal society. Conclusively the female image of this film does not represent a national heroin, but reflects the women's desire, hope, and dreams in the society. Teresa makes the audience think of representations of the true meanings of the revolution in daily life, the machista ideologies in the patriarchal society, and the women's role and fuction in the Cuban society.

• The Journal of the Convergence on Culture Technology
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• v.10 no.4
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• pp.111-120
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• 2024

This study, we explored the representation of makeup in the artworks of Cheon Gyeong-ja (1924-2015), a female painter from Korea, with a focus on her women-centric paintings. Cheon Gyeong-ja, breaking away from the traditional Oriental framework of Korean modern art, emerged as a leading female artist who pioneered color painting. Through her distinctive techniques, she unfolded a world of art centered around women, using characteristic subjects such as women and flowers to express vibrant colors. This was aimed at clearly conveying the meanings she intended from her inner world to society. By examining the makeup depicted in female portraits, we investigated the diverse representations of women's makeup and its correlation with the painted figures. Exploring the characteristic makeup aspects in the artworks allowed us to delve into the inherent meanings embedded within the colors and paintings. Given the significance of this exploration in my life, I hope this translation serves the purpose well.

• Korean Journal of Human Ecology
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• v.11 no.3
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• pp.287-299
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• 2002

Post-modernism exists with different shapes in overall cultural phenomena. Among the creative methods of composing post-modernism, there are representation, parody, plural coding, trans avant-garde etc. Summing up the influence of creative method of post-modernism on modem fashion led to the following results. 1. The phenomenon appears that value and valuelessness are easily reversed, and things with historical and traditional meanings are being ignored. 2. The boundary between higher culture and public culture is being disorganized, and mixed imitation phenomenon ignoring the differences between male and female is emerging 3. The mental and historial aspects in fashion pattern are highly thought of and the trend to understand human body from the various angles emerges. 4. In the consumer-oriented society, it appears in the form of meanings to achieve the self-achievement in individual life, to express one's idea and desire in the esthetical point of views. 5. It shows that through arranging the striking things and the distorted things, it takes the compromised method of re-appreciating the existing ideas. The phenomena in the post-modernism occurring in fashion design forced the concept of the uniformed existing fashion to be changed, creating a various fashions. That can just be called the dehumanization trend in the era of post-modernism, which is the most important formative feature in modern fashion.

• The Journal of the Korea Contents Association
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• v.17 no.4
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• pp.12-24
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• 2017

This paper analyzed the representation of migrants in television with the example of KBS's My Neighbor, Charles. This primetime TV show with consistent popularity has showcased different types of migrants from other Korean television shows in terms of gender and race, and, partly the difference brought popularity to it. This study finds the major reason of the difference from changed migration patterns in Korea. Until recently, the main population of immigrants in Korea was composed of female brides and workers, but it became diversified to include male and the West migrants. This triggered the changes in media representation, but not thoroughly. Though the faces of migrant protagonists have been diversified, the remaining ideology of nation-centric that has been the main frame to regard migrants as someone to be integrated through traditional values persists. This study finds a few conflicts between the traditional and the change. For example, represented realities of migrants are extends to include their activities in public domain, disputes of multicultural society such as social differentiation and bias, and the criticism of Korean traditional culture. In a gender perspective, while all the marriages represented showed different kinds of vulnerability, discourses of traditional familialism were also clearly presented through different tools of representation. This study aims at contributing existing studies of media representations of migrants with a more complicated pictures in the context of social changes and migration population changes.

• East Asian Journal of Business Economics (EAJBE)
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• v.10 no.1
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• pp.35-45
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• 2022

Purpose - In spite of the growing importance of Taiwanese green industry, most of employees who work in this industry in Taiwan are dominated by males. Only a few females are working in this industry and their wage is lower. This research is applying role congruity theory which explains why females share only a small portion in Taiwan's green industry. This study addresses a research question, "How has the gender inequality and discrimination been reflected in the occupation structure of Taiwan's green industry? How has this gender occupation structure influenced females in the green industry?" Research design, data, and methodology - To find out the impact of gender role in the green industry, the dataset of the 2015 Taiwan Social Change Survey is used. Using STATA, t test has been implemented to address our research question with three hypotheses. Result -All of hypothesis were all supported. It is found there is a statistical difference in stereotypical thinking between female who work in the green industry and the non-green industry of Taiwan. The limited female representation in the green industry of Taiwan influences job matching and job satisfaction significantly. Conclusion - This study suggests the Taiwanese government should encourage STEM education for females and provide more relevant vocational education and training particularly for females' competency development in the green industry. By providing vocational education and training to meet the skill needs of greener economy resilient to climate change, Taiwan's green industry will grow further and will overcome gender inequality and discrimination.

• International Journal of Costume and Fashion
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• v.6 no.2
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• pp.28-42
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• 2006

In present modern society, media contributes more to the constructing of personal identities than any other medium. Music video, a postmodernism branch among a variety of media, offers a complex experience of sounds combined with visual images. In particular. fashion in music video helps conveying contexts effectively and functions as a medium of immediate communication by visual effect. Considering the socio-cultural effects of music video. gender identity represented in fashion in it can be of great importance. Therefore, this study is geared to the reconsidering of gender identity represented through costumes in music video by analyzing fashions in it. Gender identity in socio-cultural category is classified as masculinity, femininity, and the third sex. By examining fashions based on the classification. this study will help to create new design concepts and to understand gender identity in fashion. The results of this study are as follows: First. masculinity in music video fashion was categorized into stereotyped masculinity, sexual masculinity. and metro sexual masculinity. Second, femininity in music video fashion was categorized into stereotyped femininity. sexual femininity, and contra sexual femininity. Third, the third sex in music video fashion was categorized into transvestism, masculinization of female, and feminization of male. This phenomenon is presented into music videos through females in male attire and males in female attire. Through this research, gender identity represented in fashion of music video was demonstrated, and the importance of the relationship between representation of identity through fashion and socio-cultural environment was reconfirmed.

• (The) Korean Journal of Advertising
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• v.29 no.4
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• pp.131-157
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• 2018

This study explores the characteristics and discourse of creative work in advertising and investigates women's work experience and their problem. This will reconfirm the characteristics of advertising as creative labour. For this, it conducts in-depth interviews and analyzes them through a theoretical detour and a thick description. The study found the dominant discourse that creativity is their duty and ultimate goal. This dominant discourse makes the gendering of creative roles and representation languished. In spite of this, female creators with parenting have difficulty in reducing work ability, because conflicting identities weaken their self-regulation. This means that advertising is 'self-regulationized' labour.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.3
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• pp.183-196
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• 2016

The purpose of this research is to find out the characteristics of sexuality expressed in the contemporary modern fashion jacket, especially designer Thom Browne. Thom Browne is a very successful fashion brand that has focused on design of extraordinary theme. In the research methodology, the analysis was carried out over a total of 862 work pieces in the collection of S/S, F/W, RESORT, PRE-FALL from 2010 to 2016. The characteristics of the contemporary expressions of sexualities can be subdivided into four separate categories. First, The demolition is inflated retail, exaggerated shoulder silhouettes, such as short sleeve jacket is mainly used in the form of a women's match with each other and expressed by different materials applied to men. Female jackets are designed for the silhouette to highlight the strong masculine image to highlight additional detail on the chest or vice versa, to express women's jacket to distort the female. Secondly, Sensuality is designed the body of a male was represented by a design that gives a greater masculinity was expressed that the interpretation of the male gender in detail jacket sleeves and wrap the exposed areas of the important men of fashion. Women's jacket by using a see-through material, mainly sensory Castle outward to reveal the concealed body of the female form a natural curve shows the feminine sensuality. Lastly, Incongruity is inadequate representation by sex of clothing to match the jacket and skirt in women's wear it is also unsuitable for revealing gender as male by applying soot forms. The study attempts to find the meaning in that this presents the direction of the creative development of the modern fashion design based on the aesthetic characteristics of Thom Browne fashion appearing in the modern fashion.

• Asian Pacific Journal of Cancer Prevention
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• v.17 no.2
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• pp.845-849
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• 2016

Background: Worldwide, the incidence of cancers is increasing and is becoming a major public health issue, including those in the Asia Pacific region. South-East Asia is a region with diverse populations with different disease spectra. This study looked at the spectrum of cancers among South-East Asians working in Brunei Darussalam. Materials and Methods: The cancer registry from 1994 to 2012 maintained by the State Laboratory was retrospectively reviewed. Crude incidence rates were calculated based on the population census of 2010. Results: Altogether, there was a total of 418 cancer cases diagnosed among South-East Asians, giving an incidence of 5.1% (n=418/8,253). The affected nationals in decreasing frequency were Malaysians (53.1%), followed by Filipinos (25.8%), Indonesians (15.3%), Thais (3.8%), Myanmese (1.7%) and Vietnamese (0.2%) with no recorded cases for Singapore and the People's Republic of Laos. The overall mean age of diagnosis was $46.1{\pm}4.2$ years old, with an increasing trend over the years (p<0.05 ANOVA). The overall gender ratio was 42.3:57.7 (male:female), more females among the Filipinos and Indonesians, more males among the Thais, and equal representation among the Malaysians and the Myanmese. The most common were cancers of the digestive system (19.9%), followed by female reproductive/gynecologic system (16.0%), breast (15.6%), hematological/lymphatic (12.0%) and head/neck (8.1%). There were differences in the prevalence of cancers among the various nationalities with highest crude incidence rate among the Myanmese (141.2/100,000), followed by the Malaysian (88.5/100,000), and the Filipinos (40.6/100,000) and the lowest among the Thais (18.4/100,000), Indonesians (10.5/100,000) and the Vietnamese (6.3/100,000). Conclusions: Cancers among South-East Asian residing in Brunei Darussalam accounted for 5.1% of all cancers. The most common cancers were cancers of the digestive, gynecologic/female reproductive system and breast with certain types slowly increasing in proportions. There mean age of diagnoses was increasing.

• Journal of the Korean Society of Costume
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• v.61 no.9
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• pp.84-96
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• 2011

This paper investigates the formative features and the historical meaning of the Korean dress collection held in the Museum of Archaeology and Anthropology in Cambridge. The Museum holds a total of eleven items of koran dresses that were donated by two anthropologists in the first half of the twentieth century. Male dresses consist of a white cotton jacket (Jeogori), a under-vest (Deungbaeja) made of light wisteria rings, a headband (Manggeon) made of horsehair, a broad brimmed top hat (Gat) made of black horsehair gauze, an oilskin cover (Galmo) drawn over the hat in wet weather, and a hemispherical hat box (Gatjib). Female dresses comprise a pink silk jacket (Jeogori), a blue silk skirt (Chima) with pleats, a pair of woman's white cotton trousers (Sokgot), a black silk cap (Jobawi) decorated with pink tassels and imitation pearls, and a pair of green and magenta silk shoes (Danghye) with leather soles and metal rivets. Theses Korean dresses show what the western anthropologists had interests in. When collectors collect the folk objects, they thought much of the specificity of shape and material, the esthetic appreciation, and the representation of daily life. In terms of the value as the historical materials in the history of Korean dress, the under-vest of wisteria, the hat box, and the female dresses are worth paying attention to. The under-vest is one that was produced in earlier time among the remaining under-vests. The hat box represents that the hat belonged to the merchant classes. The female dress items show daily dresses worn by women of higher classes of the society in the 1920s.