• Journal of the Korean Society of Costume
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• v.54 no.2
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• pp.105-119
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• 2004

Cultural hybridization and global cross-fertilization, begun since the 1990s, mean the hybrid mixture of the low-class popular arts and the high-class fine arts and have found expression in intertextuality by means of the thinking system of de-constructuralist post-modernism. This study was intended to investigate the artistic intertextuality between fashion and art frontiere, especially between such fields as 'animation', 'music', and 'performing arts' and 'fashion', which shows the greatest characteristic of the phenomenon that the non-mainstream culture flows into the mainstream culture. It also aimed to investigate the intertextuality between 'technology' and 'fashion' as the delivery room of the youth culture and copycat culture due to the benefit of technologies since the 20th-century digital revolution. Animation as the neo-pop art with the popular code coming to the forefront in the 21th century integrated high-class fashion and low-class fashion into one through the combination of fashion and humor, and the musical element referring to the social difference of the cultural field and the social strata is becoming the 21th-century fashion icon through its fusion with the pictorial tendency along with the leisure-time life of the non-mainstream strata. In terms of intertextuality in performing arts, fashion style performs an important role in the presentation of performing arts and since the de-construction of the fin-de-ciecle form and its fusion with media have taken place, fashion works become and element of the origin that has an influence on a series of film, dance, dramatic elements and the like. The paradigm of technology made it socially and culturally possible to achieve the architecture of clothing system necessary for fashionable technical clothing by allowing the possibility of imitation, the function of technology to form popular culture. The intertextual tendency in the 21th-century fashion began from the de-constructive phenomenon of existing norms and now takes the multicultural character of surpassing a certain domain or concept. And it positions itself as the total art of spearheading the low-class culture and the non-mainstream culture as the hybrid domain of mainstream and non-mainstream cultures or high-class and low-class cultures.

• The Journal of the Convergence on Culture Technology
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• v.10 no.6
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• pp.523-532
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• 2024

This study explores the factors contributing to the commercial success of remade films across countries by analyzing the original Hong Kong film Infernal Affairs and its remakes in the United States (The Departed), South Korea (New World), and Japan (Double Face). This paper analyzes the factors of success and failure based on Konstantin Verevis's remake film theory, focusing on aspects such as the selection of film texts, visual language, narrative structure, and cultural intertextuality. The analysis reveals that successful remade films enhance their visual appeal and strengthen emotional connections with audiences through structural completeness of the original text, creative narrative reconstruction, and differentiated cinematography. Conversely, the failure of some remakes is attributed to excessive replication of the original or the lack of consideration for cultural intertextuality, failing to resonate with audiences. This study emphasizes the need for an approach that maintains the identity of the original while incorporating new cultural sensibilities to achieve success in remakes. It aims to provide practical guidance that promotes multicultural exchange and cooperation in the global film market. The importance of strategic considerations in remaking films that reflect various cultural contexts is highlighted.

• Journal of Korea Game Society
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• v.14 no.2
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• pp.45-54
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• 2014

With the spread of game platforms fueled by the development of smartphones, such classic games as and have been transplanted in smartphone and visual media. Which stirred an issue among gamers because classic games were the materials used. However, there is a lot of room for improvement because it developed from a different viewpoint from the experiences of gamers in many cases. Based on the judgment that the reasons why the experiences of gamers were not reproduced in visual media lay in intertextuality between games and visual media, this study analyzed "Pixels" as a case of good intertexts. The analysis results of intertextuality in the game show that it applied quotation, summary, mending, and satirical travesty to the elements only known to gamers in addition to a simple arrangement of representations and parody, thus succeeding in reproducing the experiences of gamers. It also took into account popular appeal with a fresh direction not familiar to non-gamers.

• Journal of Fashion Business
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• v.27 no.6
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• pp.124-146
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• 2023

This study analyzes the characteristics of each element of neo-deconstructivist fashion design and examines fashion expression methods and techniques. This study combines theoretical research and case analysis to analyze the aesthetic characteristics of neo-deconstructivist fashion and the expressive characteristics of neo-deconstructivist fashion. Through analysis of previous research, the aesthetic characteristics of neo-deconstructivism were derived as inclusiveness, playfulness, communication, and intertextuality. Inclusivity in fashion refers to including various people, body types, aesthetics, and cultural backgrounds in the scope of design, and does not limit the scope of clothing design based on individual differences such as body type or gender. Playfulness is a neo-deconstructive fashion brand that combines exaggerated makeup, vibrant colors, intriguing designs, and imaginative fashion shows to spread upbeat and playful ideas. Communication in neo-deconstructivist fashion demonstrates communication through the use of creative themes and items that reflect consumers' needs through design and the consumer's fashion presentation method. Through the mutual quotation of aspects like traits, status, T.P.O., and materials that can reveal opposing texts, intertextuality emerged as a tendency to break up binary oppositions or break away from genres. The expressive qualities of neo-deconstructivist fashion design were examined and applied to the creation of innovative fashion design through examination of the case's silhouette, color, and material. Six sets of women's clothing were designed and produced. The results of this study can be used as basic data for the development of neo-deconstructivist fashion design, and are expected to provide a wide range of inspiration for fashion design ideas.

• The Southeast Asian review
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• v.28 no.3
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• pp.75-110
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• 2018

This study is to figure out the Filipino cultural identity by analyzing the image of the Philippine comfort woman statue, which was created as a representation of memories of the Filipino comfort women during the World War II. As a new approach to the field of area study, this study introduced the concept of 'intertextuality', which is a method of understanding texts in the field of literature. Since the comfort woman statue represents the grieved memories of the comfort women during the international war time, the analysis of the image was focused on 'femininity' and 'nationalism'. As for comparison, the Korean comfort woman statue, the Statue of Peace, was taken into the analysis. Upon analyzing, it can be seen that Filipino perception of femininity emphasizes 'beauty' rather than 'purity' that expressed in the Statue of Peace. And the Philippine nationalism expressed through the comfort woman statue can find 'elitist and inclusive' characteristics, unlike the 'popular and resisting' characteristics of Korean.

• Korean Institute of Interior Design Journal
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• no.29
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• pp.3-10
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• 2001

In recent years when the importance of public communication is more emphasized, it has to be noticed that we are now living in the public-initiated age of rhetoric resulted from rapid development of broadcast media. Therefore, the purpose of this treatise is to examine the structural characteristics in the fusion design in order to anaylize the rhetorical expressions as symbols of communication. One of those is intertextuality that expresses metaphorically by bleding and borrowing codes and another is hypertextual space where various texts twines around each other making brand-new and diverse organizations, as the combined allegory with a number of hidden expression. The fusion design may be understood as the Intention to attract gaze to visual messages and as the rhetorical expressions based on compounding aesthetic codes by producing new cultural meanings. If fusion, a phenomenon which represents the 21st century, not a passing fad of cultural mixture, is ready to take the initiative, the design has to be groped for that creates a synergy effect.

• Journal of the Economic Geographical Society of Korea
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• v.25 no.1
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• pp.87-107
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• 2022

This study aims to understand the possibility of small city marketing strategies using B-grade cultural contents. This research focused on the case of Chungju City which applied B-grade cultural contents to city marketing. The process using B-grade cultural contents to small city marketing was investigated and hash-tags and comments on social media were coded and analyzed based on grounded theory. Also, the details were examined through in-depth interviews with the local government official in charge. The result has shown the characteristics of B-grade cultural contents describing the differences from the original B-grade culture as subcuture. First, publicity materials showed the characteristics of general B-grade culture such as retro, puns, and escape, showing the process of communication/participation/empathy. Second, improbability, intertextuality, extensibility, subversiveness, and authenticity were the five main factors for responses and empathy from the audience. Third, the ripple effect was formed through the simple narrative structure of 'intro-conclusion'. Finally B-grade cultural contents of Chungju showed new possibilities for sustainable small city marketing through the formation of new cultural assets.

• Journal of the Korean Society of Costume
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• v.62 no.3
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• pp.29-38
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• 2012

The earliest of the Cultural forms have utilized different methods of artistic expression and aesthetic senses such as the Tattoo that symbolized the adornment of the human body. when viewing from the perspective of postmodern art and design, these cultural forms were redefined as a regression and intertextuality, a modern interpretation of Henna that had a subversive significance. Specifically, Henna design quickly emerged as a new style in fashion art which represented a postmodern phenomenon. It was introduced as a fashion style in korea about 10years ago. since then, the henna fashion trends is growing rapidly in the domestic market. However, It is growing without our unique identity due to indiscriminate and excessive industrialization. This study of Henna design, (similar to the art of Tattooing) sees from a cultural and regional perspective of orgin. This study interprets henna as a fashion style and analyzes symbolic meaning and aesthetic senses today with a clear definition of henna Design. from now on It's purpose is to establish the Korean Henna culture and the possibility of it being the fashion style that contains a unique atmosphere.

• Cross-Cultural Studies
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• v.20
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• pp.241-274
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• 2010

Due to the remarkable changes in the early twentieth century, the new invention and technology impacted peoples' everyday lives and people started to use the word, modern, to apply specifically to what pertained to present times and to designate a movement in what was new and not old-fashioned-a condition of newness. In the present day, however, the fantastic cultural changes of a century ago have now become commonplace, and what was once considered radically new is no longer a reason to marvel. This paper considers what it mean to be modern, once the new is no longer new. This question seems to remain as complicated and inappropriate to ponder because the consideration and impact of modernity cannot simply end with the end of an era. This paper investigates how the interconnected nature of popular culture provides apt illustrations to reveal the ambivalent nature of modernity and postmodernity. In doing so, first of all, this paper pays attentions to the notion of modernity and popular culture which emerged together in the early twentieth century when technology and mass consumer culture were promoted over the world. Also, it examines how popular culture represents a complex of mutually-interdependent perspectives and values that influence society and its institutions in various ways as the image of modernity continues to build in a postmodern era. That is, popular culture is identified as a large amount of intertextuality or collective experiences due to its intermingling of complementary distribution sources and techonology. Thus, this paper explores that popular culture devotes itself other images or narratives instead of referring to the real world and its output revisits the contemporary or past times in other places, being a means to produce and reproduce the accumulated images of the modern which shapes ceaseless simulacra of modernity over complexities of modernity. In order to find a critical juncture of the complex networks of modernity and popular culture, this paper considers two places, Chicago and Gyeongsung in the 1920s and 1930s in which the rapid modern experience took place and the modern movement forced the two societies to join the mass consumer culture whether willingly or not. Next, this paper considers two movies released in 2002 and 2008 that exemplify the complexities of modernity in Chicago and Gyeongung of the 1920s and 30s: Chicago and Modern Boy. Both films have common themes of the 1920s and 30s such as violence, adultery, femme fatal, and criminal themes with the forms of musical, dance, drama, and romance. Through the textual analysis of both Chicago and Modern Boy, two films are compared in observing the similar and different ways in which two films deal with the theme of modernity when they are represented from the contemporary perspectives. More specifically, this paper questions how modernity is present in contemporary cultural forms such as commercial and hybrid genre films; and how these movies create a new image of modern by embodying the double coding. Ultimately, this paper aims at realizing the paradox of double edged modernity and its ongoing discourse that controls people's consciousness through the medium of popular culture.

• Cross-Cultural Studies
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• v.39
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• pp.309-328
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• 2015

This study is a consideration of Xu Xiao-Bin(徐小斌)'s Sounds of nature(天?) in the mutual text point of view of Lee Cheong-jun's Sopyonje series. Xu Xiao-Bin's Sounds of nature shows similar motive to Lee Cheong-jun's Sopyonje series that is a story of a mother who damages her daughter's eyes and the daughter. however, it is accepted in totally different ways that the action of father/mother who damage their daughter's eyes. the mother in Sounds of nature is a composer as well as singer and the father in Sopyonje is a singer. The mother's behavior is not able to have duty in Sounds of nature due to it is focused in 'mother's action' rather than a singer but the father's behavior is focused in 'singer's action' in Sopyonje. therefore the action of the father, who is a singer, is considered not merely personal desire of father but also desire to preserve 'singing' as a national culture in public status. the length between two novels are clear in the two daughter's point of views. the daughter in "Sounds of nature" refuses her destiny made from her mother. The daughter's behavior of recovering her own volition, becomes frankly showing the falsehood of 'mother's love. In comparison, the daughter's voice is under the shade in Sopyonje. she surrenders herself to the fate made by her father, and she does not show her desire. This is the point that the difference is created by gender of writers.