• (The) Research of the performance art and culture
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• no.41
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• pp.5-38
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• 2020

The current state of performance halls in South Korea is closely related to the performance art and culture of the nation as the culture of putting on and enjoying a performance is deeply rooted in public culture and arts halls representing each area at the local government level. Today, public culture and arts halls have multiple management purposes, and the subjects of their management are in the public domain including the central and local governments or investment and donation foundations in overwhelming cases. Public culture and arts halls thus have close correlations with the institutional aspect of cultural policies as the objects of culture and art policies at the central and local government level. The full-blown era of public culture and arts halls opened up in the 1980s~1990s, during which multi-purpose performance halls of a similar structure became universal around the nation. Public culture and arts halls of the uniform shape were distributed around the nation with no premise of genre characteristics or local environments for arts, and this was attributed to the cultural policies of the military regime. The Park Chung-hee regime proclaimed Yusin that was beyond the Constitution and enacted the Culture and Arts Promotion Act(September, 1972), which was the first culture and arts act in the nation. Based on the act, a five-year plan for the promotion of culture and arts(1973) was made and led to the construction of cultural facilities. "Public culture and arts" halls or "culture" halls were built to serve multiple purposes around the nation because the Culture and Arts Promotion Act, which is called the starting point of the nation's legal system for culture and arts, defined "culture and arts" as "matters regarding literature, art, music, entertainment, and publications." The definition became a ground for the current "multi-purpose" concept. The organization of Ministry of Culture and Public Information set up a culture and administration system to state its supervision of "culture and arts" and distinguish popular culture from the promotion of arts. During the period, former President Park exhibited his perception of "culture=arts=culture and arts" in his speeches. Arts belonged to the category of culture, but it was considered as "culture and arts." There was no department devoted to arts policies when the act was enacted with a broad scope of culture accepted. This ambiguity worked as a mechanism to mobilize arts in ideological utilizations as a policy. Against this backdrop, the Sejong Center for the Performing Arts, a multi-purpose performance hall, was established in 1978 based on the Culture and Arts Promotion Act under the supervision of Ministry of Culture and Public Information. There were, however, conflicts of value over the issue of accepting the popular music among the "culture and arts = multiple purposes" of the system, "culture ≠ arts" of the cultural organization that pushed forward its establishment, and "culture and arts = arts" perceived by the powerful class. The new military regime seized power after Coup d'état of December 12, 1979 and failed at its culture policy of bringing the resistance force within the system. It tried to differentiate itself from the Park regime by converting the perception into "expansion of opportunities for the people to enjoy culture" to gain people's supports both from the side of resistance and that of support. For the Chun Doo-hwan regime, differentiating itself from the previous regime was to secure legitimacy. Expansion of opportunities to enjoy culture was pushed forward at the level of national distribution. This approach thus failed to settle down as a long-term policy of arts development, and the military regime tried to secure its legitimacy through the symbolism of hardware. During the period, the institutional ground for public culture and arts halls was based on the definition of "culture and arts" in the Culture and Arts Promotion Act enacted under the Yusin system of the Park regime. The "multi-purpose" concept, which was the management goal of public performance halls, was born based on this. In this context of the times, proscenium performance halls of a similar structure and public culture and arts halls with a similar management goal were established around the nation, leading to today's performance art and culture in the nation.

• Journal of the Korean Society of Clothing and Textiles
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• v.24 no.4
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• pp.538-548
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• 2000

A study analyzes the eclectic trend shown in Andy Warhol look to explain the pluralistic aspect which is expressed in the late 20th century's fashion. Eclecticism is a trial to dismantle the barriers between pure art and popular art, high culture and low culture. This pursues harmonious accommodation and coexistence of all areas without being confined in the conventional lofty taste or high art. This thesis studies the characteristic aspects of the eclectic trend by classifying this trend into sell culture, mass media and fashion around the Andy Warhol look. The sexual eclectic trend in Warhol look is bisexual one shown in clubland and the world of modeling and supplies fashion with abundant expression and ambiguity. Warhol established cultural eclecticism by compounding high cultural factors and low cultural factors. broke up the boundary between street fashion and high fashion and escaped from the fixed idea on materials and design. Also he generalized and democratized specialty or nobility conventional paintings had possessed through introducing repetition and mediocrity and fully utilized every kind of mass media, Hollywood movie stars and daily necessaries in producing works. Andy Warhol who asserted‘Business Art’that was the mixed form of artistry and commercialism had creative and futuristic taste and proposed the direction to develop current fashion and art where the concept of economy is importantly brought into relief.

• Journal of the Korean Society of Costume
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• v.66 no.3
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• pp.18-31
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• 2016

In response to increasing preference for tattoos during the 2000s, the demand for Japanesestyle tattoo fashion increased. Ukiyoe, the prototype of Japanese tattoo popular in the Edo period has been preserved traditional expression techniques to the present, It is characterized by the following: first, the tattoos share literary lyricism through plays borrowed from the classics. second, it displays harmony and equivocal expression of heterogeneous elements samurai and kabuki mono. third, humorous images are expressed in picture-in-picture form. And fourth, presence of fixed characters based on the publication culture. Tattoo fashion is characterized by the following: First, eclectic fashion based on pastiche; second, characters emphasizing fun and comicality; third, the adoption of tattoo models for establishing brand images; and fourth, Cultural association for the new composition of culture consumption. Pastiche, harmony of heterogeneous elements, fun and comicality, and fixed characters were found to be common between tattoo ukiyoe and tattoo fashion. That is, it attempted to meet the sensitive consumers' needs to keep up with the trends by adopting tattoo incorporated into the subculture of neo pop. This shows clearly the characteristics of fashion, which creates new trends through interacting with the contemporary culture.

• Journal of the Korean Society of Food Culture
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• v.33 no.4
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• pp.354-362
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• 2018

With increasing interest in the health and safety of food served in restaurants, more emphasis is being placed on the importance of health and food. As a result, Yaksun cuisine with new added effects and image is becoming more popular as a way to improve people's health. This study analyzed the effects of selection attributes relating to Yaksun cuisine on customer satisfaction and intention to maintain relationship in order to understand various needs of consumers as they relate to health food. The results showed that, among selection attributes of Yaksun cuisine, price, safety, and health were found to have significant effects on customer satisfaction; however, the effect of quality on satisfaction was not verified. Moreover, while the effect of safety and health of Yaksun cuisine on the intention to maintain relationship was found to be significant, the effects of quality and price on the intention to maintain relationship were not verified. These findings suggest that consumers believe Yaksun cuisine is more beneficial for health than general food and trust the origin label, hygiene, and safety of ingredients in Yaksun cuisine. Therefore, the results of this study suggests providing opportunities for consumers to experience diverse tastes in Yaksun cuisine and that development and promotion of different recipes using Yaksun ingredients will help reinforce competitiveness of Yaksun cuisine in the market and increase sales.

• Korean Journal of Human Ecology
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• v.15 no.1
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• pp.107-128
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• 2006

The purposes of this study are to explore the consumption expenditure and consumption-cultural meaning in the process of marriage and to provide consumer education programs for premarital couples. For the purpose, this study uses a qualitative analysis including an in-depth interview and a participant observation. Major findings are as follows: Consumers preparing for their marriage experienced quite a different consumption context, which should be said an exceptional practice from the economic point of view. As the agency businesses for marriage becomes one of the fast growing industries, the marriage of Korea is now under the rule of popular consumption culture. Thus, the exceptional consumption abuse during a marriage process brings about the imbalance in consumers' daily life after wedding ceremony. In this point of view, we can see the importance of consumer education programs for the marriage process. The latter half of this study is devoted to propose the desirable model of the consumer education program for premarital couples.

• Journal of the Korean Society of Costume
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• v.47
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• pp.143-160
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• 1999

The purpose of this dissertation is to interpret fashion through a socio-cultural phenomenon called kitsch by understanding its aesthetic characteristics and clarifying its significance in the modern consumer society and analyzing the examples of kitsch appearing in modern fashion. The following are the arguments and conclusion of this dissertation. First kitsch has negative meanings such as aesthetic inadequacy or bad tastes implying vulgar popular tastes of faked sensations just imitating elite culture and using things indiscriminately for inferior reproduction or at best the philosophical and aesthetic category that expresses the mass of people's attitudes toward life in accepting the consumer culture of the industrial society. It started from the art of romanticism accompanied by th commercializing of art with the bourgeois society background formed in the mid-19th century. Though kitsch started to prevail following the socio-cultural changes caused by the Industrial Revolution in the 19th century it is only in the late 20th century that kitsch has come tc our everyday life and has become an object of aesthetic arguments. Second formative characteristics of kitsch appearin in fashion have a cumulative inadequate romantic pleasure-seeking satirizing and multicomplex nature. Third the socio-cultural meanings of kitsch appearing in fashion are as follows: The extension of commercialism which gratifies the pleasure-seeking mass consumers the enlargement of the aesthetic category by inclining to everyday commonplace aesthetic sense the expression of one's identity through the gratification of desire and the new aesthetics of resistance and deviance by an anti-traditional and anti-elite tendency towards the traditional society and aesthetic values.

• Journal of the Korean Society of Costume
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• v.46
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• pp.5-16
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• 1999

The purpose of this study was to analyze the present fashion phenomenon by considering the types of Hiphop that shows the origination background and special feature. Popular music plays the most significant role in this 'age of culture' by its musical and visual methods through mass media. A fashion reflects and represents the culture of it's era. From the early 1990's a new fashion style called 'Hiphop' has become a universal hit among teenagers and even among those in 20s and 30s. As we can see from these points Hiphop fashion has the characteristics of being sporty borderless and genderless. In other words fashion represents individal's unique characters and their culture. This is why the study of fashion trends such as Hiphop is important; becanuse they can give us a series of fascinating insights into all sorts and conditions of men and women in our time : how they view theselves and how they choose to relate to other people whether of their own age or otherwise.

• Korean Journal of Human Ecology
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• v.5 no.2
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• pp.75-91
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• 2002

The purpose of this research is to investigate and analysis the style of Audrey Hepburn(1929-1993), the most important style icon in the 1950s and '60s from the point of the style of dress in her films - Roman Holiday (1953), Sabrina (1954), Funny Face (1957) and Breakfast at Tiffany's (1966) and fashion activities, furthermore, to know the influence on the contemporary fashion. After 1960s, her style has been recreated by so many designers. In the 1980s, times influenced by post-modernism, there was also the effort to reconstruct the style in the 1950s again. At that time, some Hepburn styles-a reflective of the flamboyant and exaggerating trend in her ages-were appeared by a few designers in the 1980s. Over the 1990s' retro culture, there were a lot of efforts to reemerge the styles in the 1950 and '60s, they led to full-scale reconstruction of Hepburn style - a feeling of the elegance and intelligence harmonizing with the minimal and formal style. By the retro culture adding with the mainstream fashion trend of simpleness and comfort in the year 2000, Hepburn's casual style has been reconstructed to meet the modem need in the 21s1 century. Through these considerations, we could notice that Hepburn style has been recreating from various fashion fields harmonizing with the popular trend of the age.

• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.27-36
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• 2019

Today, the Korean wave headed by K-pop is newly named as 'New Korean Wave' in that it has been extended to United States, Europe and Russia. K-POP, the main player of the new Korean wave, has been successful in SNS marketing channels. Furthermore, the content of K-pop has attracted the attention of the global audience. The media and public attention on the Korean Wave is meaningful because it is not merely a cultural export. It also makes Korean people feel national pride, seeing the mental influence of its culture on other regions. Moreover, the development of the cultural industry in our society, which is different from industrial or material development, is a proof that Korean society is at the center of globalization. Until the 20th century, Korean culture had been rather receptive than dominant. In other words, it was focused more on acceptance of other cultures than active creation or outflow of its own. Now, however, K-POP is not anymore copying Western culture. It is creating its own unique characters, which makes K-pop very competitive. Korean culture has been formed for a long time in Korea's unique historical background. Korean popular culture also has to establish a solid foothold in world markets through its distinctive and traditional feature. The positive consumer response to Korean pop culture will create the added value of Korean contents and their derivatives, which will heighten Korea's national image also. In other words, if traditional art and K-POP are converged and equipped with our own unique and highly artistic culture, they will take the lead in the global cultural art market. In this study, we will recognize the possibility, growth and development of K-pop culture and analyze the cases of combining K-pop and Korean traditional art. First, we have to blend traditional art and other various genres to create diverse contents, and we have to actively utilize media channels. Second, we must improve people's awareness of the copyrights of traditional art. Also, we have to mitigate the copyrights of creative dance to expand the disclosure of contents which can be utilized. Third, we have to learn about traditional arts from younger age. Fourth, we will expand traditional arts to the whole of Korean cultural policies, which can enhance the nation's cultural value and create economic benefits. These four are expected to be effective ways to preserve the identity of traditional art and at the same time, globalize Korean culture.

• Lingua Humanitatis
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• v.7
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• pp.247-269
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• 2005

The decade of the 1960s in Korea is normally regarded as a transitional period, but this transition has been consistently viewed in either economic or political terms. In this paper I examine the 1960s and the 1970s as a period of cultural transition―from a neo-Confucian emphasis on "high" art to a broader, more inclusive acceptance of "popular" forms of cultural expression. Although these two realms of cultural production are often viewed as fundamentally antithetical, I argue that there is actually significant continuity in terms of both artistic expression and cultural engagement. In particular, I look at the trajectories of Korean national literature and cinema and their areas of confluence. I examine the career of Kim $S{\breve{u}ng-ok$, who in the 1960s was the preeminent literary voice of a new generation and who in the 1970s was the screenwriter for some of the most popular films of that era, and I show how Kim's career changes track parallel changes in both literature and cinema. Artistically, Kim continued his literary expressions of a new sensibility in his screenplays, bringing to cinema a new infusion of seriousness and respectability. Culturally, Kim continued his explorations of the ways in which rapid changes in Korean politics and the booming economy led to miscommunication and chaos in society. By consistently exploring processes of national identity formation and re-formation, Kim's 1960s literature can be seen as crucial instances of Korean national literature (minjok munhak). In the same manner, Kim's 1970s screenplays can be seen as foundational moments in a Korean national cinema.