• 한국콘텐츠학회논문지
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• 제14권5호
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• pp.63-73
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• 2014

본 연구에서는 한국과 중국의 가족 드라마에 나오는 여성상을 비교하고자 했다. 이를 위해 한국 드라마 <며느리 전성시대>와 중국 드라마 <며느리의 아름다운 시대>를 분석 대상으로 채택했다. 여성의 이미지는 가족 드라마에 나타나는 중요한 부분이며, 그 시대의 모습을 반영한다. 따라서 가족 드라마에 나오는 여성상을 연구하는 것은 사회 문화적 가치를 지니고 있다. 양국 드라마의 내용을 분석하여 성역할정형화모델과 여성상을 비교한 결과, 양국 간에 큰 차이가 존재하는 것으로 나타났다.

• International Journal of Human Ecology
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• 제8권2호
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• pp.127-139
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• 2007

The purpose of this study is (1) to investigate how women's visual images in cosmetic magazine advertisements have changed over time and (2) to examine whether women's images in advertisements have changed in regards to the symbolic ambiguity of dress and appearance styles according to the time period. Social identity theory was used as the theoretical framework to understand the change of gender identity and physical appearance. The two magazines of Vogue and Working Woman were selected for the years of 1981, 1991, and 2001. The findings of the study showed that women's make-up colors portrayed in cosmetics magazine advertisements changed from artificial to natural over 20 years and messages in cosmetics magazine advertisement changed from a focus on attractiveness to a focus on skin-care and health. However, appearance styles of women in the advertisements analyzed were predominantly more feminine than masculine for the entire time period studied.

• 디지털융복합연구
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• 제16권7호
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• pp.369-379
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• 2018

본 연구는 다양한 사회 문화적 배경을 가진 광고 속에서 지속적으로 묘사하는 완벽한 신체를 가진 여성의 초상이 끊임없이 갈등을 일으킨다는 점에서 시작한다. 이는 라틴 아메리카와 한국을 비교하고 분석하는 새로운 방식으로 접근하였다. 획일적인 미의 기준이 아닌 있는 그대로의 모습을 긍정하는 '보디 포지티브'운동이 압도적인 이슈로 떠오르고 있다. 도브, 빅토리아 시크릿, 아이다의 모델과 같은 영향력 있는 브랜드들의 사례를 분석하여 '보디 포지티브'가 가지는 거대한 움직임의 효과를 테스트하고 기존의 인식을 제고하는 것에 연구의 목적이 있다. 한국과 라틴 아메리카의 30대 남녀를 대상으로 심층인터뷰를 진행하는 방식으로 연구를 진행하였다.

• 패션비즈니스
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• 제4권3호
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• pp.47-65
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• 2000

The movie costume's function and the role can be defined by reflection of the society and the times, character portrayal, conveyance of image, and creation of fashion. Korean movie costumes have been differentiated from 1950s till 1990s in time period and the results of comparison between the times as follow : Movie and fashion hold same period in common so that sense of fashion is naturally contained in the movie costume. Therefore, excluding special movie that costumes are selected by designer, such kind of trend is notable in the times when costumes mostly selected by actors themselves. Most movie costumes are not designed after predicting up coming fashion by considering movie producing time so that notation between current fashion and fashion in the movie and mostly we see about one year behind fashion style. For FAD, fashion that quickly passes in each season can use costumes in fashion, considering movie producing time and time background, that it lack of trend of fashion in the movie. Korean movie industry lack of having perception of people who are in charge of taking care of movie so that costumes are not properly taken care of and uses only 5% of total movie producing cost. Such that kind having lack of preception and treatment of movie costumes can't expect development of movie costumes.

• International Journal of Costume and Fashion
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• 제14권1호
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• pp.29-45
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• 2014

In the contemporary world, fashionable bodies are socially constructed in light of current idealized images. Media portrayal of such images can have negative health implications. This issue has long been problematic for women. Nowadays, men are subject to more scrutiny regarding their bodies, although male body image has been studied far less than female body image. In this position paper based on a review of the major studies that have been conducted on men and body image, we summarize the findings from these state-of-the-art studies that have been recently published in academic journals. Three themes related to male body image were extracted: socio-cultural ideals, masculinity, and minority men. This study adds to the literature I that it demonstrates that men experience and view their bodies differently from women, though some behaviors, such as disordered eating, are similar. Other behaviors, such as the drive for muscularity, are couched in the context of the social construction of gender and power. Most of the studies were done on white, heterosexual populations of young men, and nearly all used quantitative research methods. Little research has been conducted on ethnic and sexual minorities. We conclude with a discussion of what we need to know, and to that end, we suggest future avenues of research.

• 비교문화연구
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• 제51권
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• pp.193-212
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• 2018

논문은 리안(李安)영화가 진행하는 여성 재현(응시)의식을 살펴보고자 한다. 미국 사회에서 활동하고 있는 리안의 문화적 정체성에 주목하며, 때로는 주류가 아닌 주변인으로 위축되고 억눌려졌던 자신의 불안한 위치와 정체성을 여성과 동일시했다고 하는 감독의 영화의식 속에서 '여성'을 들여다보고자 한다. 논문은 서양사회에서 대만인 디아스포라 동양 남성 감독 리안이 영화에서 '여성'을 어떻게 재현하고 있는지, 동양 남성으로서 가부장제 남성 의식을 내면화하고 있는 그가 '여성'에 대해 어떤 응시를 진행하는지 주변인(이방인)으로서 중심을 어떻게 해체하고 있는지 그의 방식을 살펴보고자 한다. 리안 영화는 여성들이 국가권력에 의해 구국의식 안으로 포획되고 있는 지점을 연출하고 있다. 국가는 그녀들에게 구국이라는 대의의 책무와 책임을 강제하고, 이런 국가에 그녀들은 때로 균열을 진행한다. 식민 조국의 해방에 적극 동참하지만 그 속에서 국가가 보여주는 기만성을 폭로하고, 또 생명을 조작하며 안보 강화만을 주장하는 국가의식의 허위성을 폭로한다. 또 그의 영화는 동 서양의 부권(父權)과 부권(夫權)을 해체하기도 한다. 감독은 중국 여성의 신체가 식민자 앞에서 발가벗겨져 전시되고 구국이라는 이름으로 강제되는지 주목한다. 그녀들의 신체는 가부장제 이데올로기에 억눌려 이상 징후를 보이거나 아들을 낳는 생산의 도구로 강요되고, 중화 전통 문화 아래 감정의 표출을 억압당하며 절제된 감정의 신체로 표상되고 있다.

• 한국의상디자인학회지
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• 제19권3호
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• pp.159-174
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• 2017

It is very important to preserve the form of traditional costumes and to set the prototype for the design and production of various Korean costumes. This study therefore attempts to analyze the Danryeung pattern methods in textbooks in order to propose a prototype of Korean costumes and a system suitable for modern men, focusing on the Danryeung of the Joseon Dynasty. The research method examined the flow of the Danryeung system in the Joseon Dynasty through previous studies and literature, and the portrayal of the appearance of people of the time through portraits and paintings. The purpose of this study is to analyze the measurements and patterns of textbooks' Danryeung based on the analysis of characteristics of the 5th Joseon Dynasty. From that, the study will analyze the differences between textbooks and artifacts and will propose a Danryeung system for the body shape of modern males in their 30s. In this study, it is meaningful to propose the guideline for the design modification of Korean costumes by providing basic data for subsequent productions.

• 영어어문교육
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• 제13권3호
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• pp.117-132
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• 2007

Playwright Eugene O'Neill's expressionistic text-based approach to The Emperor Jones, with an emphasis on fixity, was at odds with African American actor Charles Gilpin's improvisational performance technique, stressing rupture, spontaneity, and discontinuity. The contemporary avant-garde performance troupe The Wooster Group likewise produces subversive and interrogative forms of identity in performing the play, which challenge the normative approach to gender, race, and an imagined orientation. The historical foundation of subversion and destabilization laid by O'Neill and Gilpin were manifold in the Wooster Group's production of The Emperor Jones, and not only formed a backdrop to it but also played a central role in the group's representation of race and even gender on the stage. In this essay, I use O'Neill's play, The Emperor Jones, a crucial example of racialized fantasies of identification, to explore how the modernist stage through the performances of Gilpin and The Wooster Group constructed racialized subjects of both its performers and audiences. Gilpin and the Wooster Group's strategies each shared a similar complexity in the portrayal of black identity in performance. Offering an examination of how ideologies of race and gender overlap in The Emperor Jones, I hope to show how each performance signifies a range of subversions and differences simultaneously and sometimes oppositionally that needs to be explored both holistically and in detail to offer a fuller picture of these remarkable attempts. Through this approach, I examine Gilpin's creative adaptations of O'Neill's text and illuminate how it is that the Wooster Group's appropriative use of blackface in their performance has come to gain critical acceptance.

• 비교문화연구
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• 제35권
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• pp.97-122
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• 2014

Since the arrival of Chinese immigrants in the 1850s, many Euro-American writers tended to project their fears, contempt, desires and fantasy onto the Other race and perceived Chinese Americans in stereotypes-dangerous villains, unassimilated aliens, quiet and passive servants, sexually submissive women, or seductive prostitutes. However in the 1970s and the 1980s Euro-American novels expressed varying attitudes towards Chinese Americans. Many earlier EuroAmerican writers began portraying positive characterizations of Chinese Americans. The purpose of this study is to examine the ways one of the Euro-American writers, Howard Fast characterized Chinese Americans in The Immigrants. Part of the novel concerns a Chinese American family. Fast gave a favorable portrayal of Chinese Americans. Unlike many Euro-American novelists who dealt only with Chinese American villains and prostitutes and view Chinese Americans as the lowest class of American society, Fast, on the other hand, portrayed Chinese Americans as law-abiding and useful citizens. Thus, I will discuss how Howard Fast subverted the familiar negative characterization of Chinese Americans and placed Chinese American experiences in the context of American immigration history. Many white Americans tended to notice only the lurid and sensational aspects in the Chinese American community. They seldom regarded Chinese Americans as people with homes and families and seldom saw Chinese Americans as individuals, as human beings with feelings, pain, and joy. To counter this racist view, Fast described the family life of Chinese Americans and depicted Chinese Americans as individuals with a full range of human emotions and with strong family and cultural ties. Though Fast debunked some myths about Chinese Americans, he also reinforces other stereotypes or some stereotypical illusions about them. In conclusion, I'll demonstrate Fast's work remains an incomplete representation of Chinese Americans.