• The Research Journal of the Costume Culture
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• v.23 no.1
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• pp.1-10
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• 2015

This study, which focuses on a masquerade, starts from the concept that all men exist as visual objects as well as visual subjects before discussing an issue of sexuality to inquire into masquerade characteristics of fashion photography. Masquerade is a concept that can describe various and multidimensional attributes of humans in social norms prescribed separately for men and women till now, and the concept has not yet been introduced in the field of fashion. However, it is considered a measure to analyze contemporary expressions of sexuality, on which a need for this research is raised. This study looks into the basic concept of the object and the ego through a psychoanalysis-related literature review. This study, then inquires into Jacques Lacan's notion of gaze and Roger Caillois's theory of mimicry through related specialty publications. This study reinterprets the concept of masquerade from Lacan's perspective and carries out an empirical analysis of masquerade characteristics in contemporary fashion photography based on the result drawn in parallel. Sexual masquerade shown in fashion photography based on the concept of masquerade is as follows: first, it appears as normative sexual description, divided into male and female by social norms; second, sexual ambiguity, obscuring the distinction between the sexes through playful and bombastic forms; and lastly, sexual subversion, disguising as the opposite sex through putting on clothes of the opposite sex.

• Journal of the Korea Institute of Information Security & Cryptology
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• v.13 no.5
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• pp.91-104
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• 2003

A masquerader is someone who pretends to be another user while invading the target user's accounts, directories, or files. The masquerade attack is the most serious computer misuse. Because, in most cases, after securing the other's password, the masquerader enters the computer system. The system such as IDS could not detect or response to the masquerader. The masquerade detection is the effort to find the masquerader automatically. This system will detect the activities of a masquerader by determining that user's activities violate a profile developed for that user with his audit data. From 1988, there are many efforts on this topic, but the success of the offers was limited and the performance was unsatisfactory. In this report we propose efficient masquerade detection system using SVM which create the user profile.

• The Journal of the Korea Contents Association
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• v.10 no.4
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• pp.175-185
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• 2010

This article aims to compare the implications of masked dance in Hahoe with Gangneung masquerade and analyze them, in terms of the transition of the rituals. The results are as followings; Byulsin exorcism of Hahoe was the worship for God who people believe protects us from the evil. However, from the making of the mask in Hahoe masquerade. The movement of the dance features the spontaneous, changeable, depending on atmosphere of the stage or the host of the performance. Hahoe masquerade has the religious suggestion in the organization; it is one of the festivals, wishing for peace, good harvest of the village, in the content of the performance. From the roles of casts, the implications of the rituals are inferred; such the characters as Yangbankwangdae, Somaekaksi, Sisittakttaki, and Jangjamari have the implication of the repelling. But, the movement of the masked dance lost the original fashion in the process of restoration and faced the change. Therefore, most of the movements are tuned to falk of Gangneung; it doesn't have essence of the rituals. Finally, Gangneung masquerade has a factor of amusement of the Dano festival, wishes for well-being, good harvest of the village and includes the ritual of a guardian deity of the town, like the tutelary masquerade.

• Journal of the Korean Society of Fashion and Beauty
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• v.5 no.1 s.12
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• pp.97-111
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• 2007

This study was motivated not only by the curiosity of clown as a comedian, but also by the clown's special makeup coordination. To analyze the clown makeup coordination Carnivalism, the researcher inquired 1) clown's meaning, sorts, periodic roles and stages, 2) Mikhail Bakhtin's Carnival theory, and 3) makeup coordination of clowns (Harlequin, Pierrot, Auguste and White Face Clown) as the theoretical background. The clown makeup coordination carnival characteristics were shown in masquerade, amusement and ambiguity. The masquerade was expressed on the mask for Harlequin and white makeup for Pierrot, Auguste and White Face Clown. The amusement was revealed on the fall and the inharmony of the grotesque makeup and childish costumes. And also the ambiguity was expressed on the sexless and the infant of clown's real nature and costumes.

• Fashion & Textile Research Journal
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• v.14 no.6
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• pp.889-897
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• 2012

This study suggests a direction for stage-costume design by making stage costumes based on amusement, eclecticism, and the masquerade, which are the criteria for approaching stage costume designs according to characteristics of the mask theatre presented by P. G. Bogatyryov. The conclusions of this study are as follows. First, criteria to approach stage costume design for mask theatre can be classified into amusement, eclecticism, and masquerade according to the characteristics of the mask theatre presented by P. G. Bogatyryov. Second, the stage costume of a mongrel dog showed amusement through the expression of the image of therianthropy through the combination of a fur-lined vest and wristlet, Korean traditional trousers with the paw-prints of a dog. Third, eclecticism contains diverse characteristics and escapes from being singularly defined due to the fusion of severally different heterogeneous objects. The stage costume differently used a method of wearing clothing in a different period, of choosing clothing materials, and of expressing color in every character to indicate ambiguity to which the drama points through the integration of various expression elements. Fourth, the masquerade present characters (Taembang, Daejang, and Changseok)who simultaneously play the role of fairies after having changed into a white mask and having worn Korean a traditional overcoat (Durumagi) on the original clothes; the, result is the change of the theatrical structure into another time and space inside the theatrical scene of imagination through a concealment of the original clothing.

• Journal of the Korea Institute of Information Security & Cryptology
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• v.16 no.6
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• pp.135-149
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• 2006

Securing wireless Ad hoc network including the secure mechanism design and implementation is generally more difficult for vulnerability of channels and nodes, the absence of infrastructure, topology that change dynamically, and etc, than ire network. The efforts of early researches are based on the adaptation of securing methods for the wire network to wireless ad hoc network. However, wireless ad hoc network could not get effective study finding because network has essential problems. This paper proposes that some new problems are being came to light over the survivability and availability of the network itself, that are caused by the massive packet attack of more than one or two nodes, and proves the consequence of this phenomenon. Also, we propose an effective prevention mechanism of masquerade attacks for survivability reinforcement that escape standard of the early way by survivability of wireless Ad hoc network and approaches for performance elevation and reflect special quality of wireless Ad hoc network.

• Journal of the Korean Society of Costume
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• v.57 no.4 s.113
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• pp.173-187
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• 2007

The purpose of this study is to analyze the fetishist characteristics and the aesthetic values of glamour style based on the premise that fetishism is the theoretical root of glamour style expressed in fashion throughout history. The following results are from analysing fetishist characteristics of glamour style. First, luxury was analysed from an angle of commodity fetishism. Every culture develops images and stories that portray a world in which its ideals are realized: a paradise, a utopia, a golden age, etc. Consumer goods often serve as 'bridges to these ideals'. People thus can fantasize about owning the perfect life. Crucially, however, they must never get everything they picture. That is why luxuries often take on displaced meaning. Glamour gives the displaced meaning visual form, making it beautiful and real. Second, the attention on the glamour of luxury goods as a bridge to ideals is connected to the glamour icon who is simultaneously a consumer of these luxury goods and a producer of cultural goods. Glamour icons including the courtesan of the late 19th century, the actress of the 1930s' Hollywood golden age and today's celebrities appear to efface the traces of production and create fetishist images in culture. Through this artificial principle, the commodity-cum-glamour icon comes to life as a splendid image of spectacle. Third, masquerade and seduction were analysed from an angle of sexual fetishism. A magnificent image of masquerade as sexual fetishism is often equated with femininity, especially in Hollywood movies, because the artificial seduction of the feminine -namely glamour- can be effected by the absence or silence of being. That is to say, the aesthetic revelation of femininity coincides with the fleshing out of artificial signs. Masquerade and the seduction of the feminine are connected with glamour's artificial sensuality from this point. Fourth, since 1980's when homosexuality as sexual deviation resurfaced as a hot topic, sexual ambiguity and bisexual image have gained attention as perverse sexuality. Next came queer theory, which reduced gender itself to a matter of surface rather than depth. According to queer theory, gender itself can be revealed as a kind of drag act. Drag's imitative performance may reveal that womanliness is just about 'dragging up'. Queerness as a decadent play makes a connection with the wicked origins of glamour. From these characteristics, four aesthetic values were deduced: ostentatious luxury and mysterious idolatry by commodity fetishism, artificial sensuality and playful queerness by sexual fetishism.

• Journal of the Korean Society of Costume
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• v.55 no.6 s.96
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• pp.141-158
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• 2005

This study was motivated not only by the important role of the special make-up effects in films, but also by the prominent contributions created by make-up artists. The first objective was to study of Jack Pierce, Dick Smith, Tom Savini, Rick flake., and Stan Winston's impact in the most challenging and creative field of all make-up artistry. The second objective was to examine both affinities and differences in artistic styles as well as in make-up techniques through a comparative study of special make-up effects of horror and sci-fi movies in the 20th century films produced by Hollywood studios. The sci-fi films were designed to thrill the audience through the potential of futuristic ideas by fantastic special effects of futuristic creatures such as an extra-terrestrial, a mutant, a robot and a cyborg. In contrast, the horror films were designed to frighten the audience with more reliance on horrifying special effects including a vampire, a werewolf, a zombie and a psycho killer. Their features were shown in a common thread (masquerade, otherness and surrealism) as well as a number of different themes between horror and sci-fi films (transformation vs. extension, satanism vs. monstrosity, and primitivism vs. futurism).

• The Research Journal of the Costume Culture
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• v.14 no.5
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• pp.739-754
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• 2006

Glamour, which stands for attractive physical feature with certain mystique, has been recognized by its superficiality and ephemerality in recent postmodernist aesthetics. The purpose of this study is to provide a comprehensive literature of glamour and to contemplate glamour look, thereby to establish the styles of glamour expressed in fashion. For such purposes, this thesis first provides the study on the glamour in design studies, film studies and feminist theories, and to inquire aesthetic values of glamour look, which has been reflected in fashion. The glamour expressed in the fashion design can be classified into the following six aesthetic values: luxury, excess, masquerade, appropriation, sensuality and decadence. (1) Luxury is an expression of expensiveness, ostentatiousness which can be achieved only after putting in extensive an elaborate handworks. (2) Excess is an expression of bigness, scalelessness or extreme abundance. (3) Masquerade, that is a technique of identity which deal with clothing as a metaphor, is an expression of mysterious attractiveness and theatricality. (4) Appropriation is an expression by way of taking something from different time and space. (5) Sensuality is an expression of indulgence of sexual pleasures. Lastly, (6) decadence implies eroticized violence and demoralization.

• Journal of the Korean Society of Costume
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• v.53 no.8
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• pp.21-37
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• 2003

The purpose of this paper is to be studied the Devil's types and the special effect makeup's techniques expressed on horror movies. As the theoretical background, the researcher inquired the origin of Satan, Demon and Devil, and the shapes and meanings portrayed in the religion, philosophy art and literature. Also classified the Devil's types of the movies, and examined the factors, techniques and aesthetic characteristics of special effect makeup for each of them. The results are as follows. 1. The Devil's types are the Werewolf, the Zombie and the Vampire. The Werewolf is a kind of Devil that changes into a wolf when the full moon rises. It requires animatronics, rubber body suits, furs and fangs for special makeup effects. The Zombie is a dead body that the exorcist restored with a narcotic drug, and it nibbles on human's brain and flesh. So it needs decayed or pale skins, scars, bald heads, non-focus eyes and false teeth for making this character. The Vampire is a bloodsucking ghost. Therefore, it uses fangs, evil eyes, rubber body suits and dropping blood for special effect makeup. 2. They expresses Sadism, Masquerade and Cruelty as the aesthetic characteristics of the Devil's special effect makeup.