• Journal of the Korean Society of Costume
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• v.61 no.9
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• pp.60-73
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• 2011

The movie costumes, artistic and figurative, serve to maximize the dramatic conveying effect of the movie's theme, actor's character, and the image of a dramatic situation expressed through clothing. It is considered that research would be meaningful if it studied on how the movie costumes are implied with symbols in order to present a dramatic image depending on the situation. Therefore this research compared, analyzed, and interpreted the historical plays produced on historical backgrounds, "The Sword With No Name" and 'Elizabeth - Golden Age'. In other words, five dramatic situations were extracted in order to compare and analyze the costumes of Empress Myeongseong to the costumes of Queen Elizabeth. The costumes presented according to the storyline and the personalities of the two characters with these five as the basis are compared and analyzed, and the implied symbolic meaning could be interpreted and analogized based on the results. Therefore it is suggested that symbolic meaning, along with the expression of the dramatic atmosphere, needs to be implied in the design of the movie costumes.

• English & American cultural studies
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• v.17 no.2
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• pp.1-27
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• 2017

My aim in this paper is to provide a clear view of Victorian gender ideology and highlight the role played by Browning's dramatic monologues in the challenge against the strict patriarchal codes of the era. Laura Mulvey's Male Gaze theory in cinema is especially useful for understanding Browning's most well-known dramatic monologues, "Porphyria's Lover," and "My Last Duchess," because these poems are structured by polarities of looking and being looked at, the active and the passive. In her 1975 essay "Visual Pleasure and Narrative Cinema", Mulvey introduced the second-wave feminist concept of "male gaze" as a feature of gender power asymmetry in film. To gaze implies more than to look at – it signifies a psychological relationship of power, in which the gazer is superior to the object of the gaze. She declares that in patriarchal society pleasure in looking has been split between active/male and passive/female. Browning's women are subject to the male gaze, but they refuse to become the objects of a scopophilic pleasure-in-looking. Porphyria and the Duchess don't exist in order to satisfy the desires and pleasures of men. They reveal themselves as an autonomous being - reserved in Victorian gender dynamics for men. Mulvey advocates 'an alternative cinema' which can challenges the male-dominated Hollywood ideology. It is possible to say that Browning's dramatic monologues correspond to Mulvey's 'alternative cinema' because they show a counterview in terms of the representation of woman against the Victorian patriarchal ideology.

• Korean Journal of Child Studies
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• v.21 no.1
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• pp.253-268
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• 2000

The social dramatic play of seventeen five-year-old children was videotaped and transcribed for analysis of Intersubjectivity and play role types. The teachers of the children rated children's social competence. Results showed that children's Intersubjectivity in social dramatic play was related to their play role types and peer competence. Children with a high level of Intersubjectivity play leading roles during social dramatic play and were rated as socially competent by their teachers. The results were discussed from the Vygotskian perspective. Implications for early childhood teachers and suggestions for future studies were provided.

• Journal of Korea Multimedia Society
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• v.20 no.4
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• pp.721-729
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• 2017

This study examined the dramatic devices that the production team made for the studio progress in the survival music entertainment program of open narrative structure in which the audience participated through MBC 'The King of Mask Singer'. The reason for the need for dramatic equipment is that the studio Audience who participated in the process of the program crossed the situations of flow, selection, and enjoyment. As a result of the research, the production team of 'The King of Mask Singer' was found to have a device of time margin, lighting and background image, and role of MC in order to change the progress of the studio and that the participating audience naturally change their roles.

• Korean Journal of Human Ecology
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• v.2 no.1
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• pp.53-61
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• 1993

The purpose of this research was to find out relationships between the use of fashion information, preference of fashion advertising and fashion leadership. This research was carried out by both the theoretical and empirical study. For the theoretical study, the research of Fashion Leadership was based on the fashion opinion leadership and innovativeness. The study include the analysis of variables influencing fashion leadership, such as use of fashion information preference of fashion advertising, and demographic variables. For the empirical study, fashion leadership was measured by fashion opinion leadership and innovativeness. The variables influencing on the fashion leadership were measured by use of fashion information (marketer-dominated information, consumer-dominated information, neutral information), preference of fashion advertising (dramatic type, feeling type, goods demonstration type), demorgraphic variables (age, years of education, family income, job, marriage). Data were obtained from 313 female in chungbuk area by self-administered questionaire. The datacollected through the questionaire were analyzed by the stastical technique - ANOVA and Duncantest, t-test, stepwise multiple-regression. The results of the study were as follows; 1. There were significant differences on the fashion leadership, fashion innovativeness, fashion opinionleadership according to the marketer dominated information and neutral information. There were significant differences on the fashion leadership, fashion innovativeness, fashion opinion leadership according to the preference of dramatic type. There were significant differences on the fashion opinion leadership according to the preference of goods demonstration type. 2. 30 percent of the total variance of fashion leadership was explained by the six variables: fashion magazines, TV & Radio advertising, clothing of TV talent & singer, years of education, dramatic type, catalogue. 3. When the subjects were divided into five groups(innovative communicators, innovators, opinion leaders, followers, indifferents) according to their innovativeness scores and opinion leadership scores, there were significant differences among groups in most of use of fashion information, preference of fashion advertising variables and in some of demographic variables. 4. There were significant interactions between marketer-dominated information and dramatic type and were significant interactions in goods demonstration type, marketer-dominated information and dramatic type. There were significant interactions between consumer-dominated information and dramatic type. This ariables has the effect on Fashion Leadership by the interactions.

• The Research Journal of the Costume Culture
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• v.9 no.4
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• pp.639-650
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• 2001

The purpose of this study is to investigate whether characteristics of the perceiver make differences in impressions of clothing types in the situation of first impression formation. Questionnaire was used as major method of gathering data. A poll of 650 men h women between the ages of 20∼39 living in Daegu was taken by the author for this study. Factor analysis, cluster analysis, frequency, ANOVA-test and t-test were implemented with the SPSS-package. The characteristics of clothing types used in our experiments include: sexy, masculine, feminine, dramatic, elegant-classic and casual. The results are as follows; 1 . Men favored sexy clothes more than women, whereas women tended to like masculine clothes more than men. 2. Positive, open-minded men were accepting of masculine, feminine, dramatic and elegant-classic clothes, but gave unfavorable responses toward casual clothes. In contrast, positive open-minded women continued to show unfavorable impressions of sexy clothes. Attitude towards clothing affected the outlook towards clothing by the perceiver 3. Clothing-dependent/vain men favored sexy, dramatic and elegant-classic clothes, while clothing-indifferent men tended toward casual clothes. Furthermore, clothing-dependent/vain women were interested in the feminine style, but women in general continued to show negative responses toward sexy and dramatic clothes.

• Archives of design research
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• v.14 no.4
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• pp.199-207
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• 2001

The public performance of drama has essence to convert text to visual images as stage and to represent, inform such visual images. Visual image is formed through a space as stage. Stage is a dish to fill the texts and is the mother's womb of visual image. Namely, visual image of drama equals space image. The purpose of this study is a trial to grasp the structure and system represented through interpreting. Especially, the concerns of this study are not semiology of letter imported in image but spacial image text importing just contents of text and the process and contents grasping the structure and meaning of dramatic space. Finally, this study proposed 'the system of space embodiment'from the semiotic point of view as interpretation methodology of actual memorial, symbolic space.

• The Journal of the Korea Contents Association
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• v.14 no.6
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• pp.11-25
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• 2014

In strong dramas, pot, character, and theme, three basic elements in dramatic structure, are effectively integrated forwards the same dramatic idea. Plot might be considered as the most important element to combine events and character. However, at some point of the script, the writer becomes less interested in the mechanics of the plot, and the characters take over, because audiences remember the characters or the situations more clearly than the plot. Therefore, the workshop of dramatic structure would be successful when it starts from excogitating the character and the situation, by improvising 'voices' of characters, building 'back story', and reconstructing 'outline from the antagonist's view'. With these exercises, the writer and the director understand the mechanics of dramatic plotting by characterization, which include the choice of the protagonist, and the description of plausible actions and the theme, and they consequentially find the way to obtain solidity and plausibility in the scenes.

• Journal of Families and Better Life
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• v.17 no.1
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• pp.139-154
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• 1999

The purpose of this study was to examine the effects of dramatic play on the hyperactive-children's self concept and their hyperactivities. The subjects for this study were 144 five-year old children of Y kindergarten in Seoul. Through the Teacher-Questionary modified by Koung-ja OH(1986) 26 children were assigned to the experimental group and the control group 13 hyperactivity-children (boy:11 girl:2) in the experimental group had dramatic play of which the main themes were positive self concept formation. but the 13 children(boy:11 girl: 2) in the control group did not any dramatic activities. Experimental procedures for the self concept test and the hyperactivity test were pre-test experimental treatment and 2 times post-test by 2 months. Self concept test used for pre-test and post-test was The data was analysed using t-test and paired t-test. The result are as follows: 1. In the pre-test for self concept the scores of the control group showed higher than that of the expe imental group. But there were significantly increased difference between pre-test and the first post0-test in the experimental group. 2. In the second post-test for self concept of the experimental group after 2 months there were no significant differences between the first post-test and the second post-test. 3. In the hyperactivity test there were no significant differences in the control group,. But the experimental group showed decreased hyperactivities in the first post-test. 4. In the second post-test for the hyperactive-children's hyperactivities in the experimental group after 2 months there were no significant differences between the first post-test and the second post-test The dramatic play influenced on the hyperactive-children's self concept positively and the decrease of hyperactive-children's hyperacivities.

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.157-164
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• 2019

If a drama play is interested in recreating the play text on stage, the post-drama play aims at a drama that has been liberated from the play text. In this process, the boundaries created by drama theater are dismantled. Actors and audiences, fiction and reality, theater and non-theater, works and events, language and non-language are the names of typical boundaries. The demolition of these boundaries is an opportunity to restore the festival character of ancient Greek theater, which was forgotten by drama theater. This has led to the dismantling of language-centric and play-centricism, which has dominated the play since Aristotle, and has led to a new play. If language-centered, play-centricism has brought about the crisis of drama, the post-dramatic play dismisses them and finds ways to communicate with the audience as new cultural content. The method is found above all in the restoration of dramaturgy. This is because the post-drama plays are more dependent on theatricality than literature. The demilitarized nature of post-dramatic play with enhanced theatricality will be a stepping stone to popularization, and this shows the possibility of post-dramatic play as cultural contents.