• The Journal of the Korea Contents Association
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• v.20 no.9
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• pp.19-28
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• 2020

Focusing on (2017), I would like to consider the way twin motifs' desires, deaths, and fantasies are reproduced in mirror images. First, the desire of twin motifs expresses the duality of good/evil and norm/desire as a mirror of sensual temptation. Second, the death of twin motifs expresses the spread of death as a mirror of punishment. Third, the fantasy of twin motifs expresses mental defense as fragmented mirror. In , the twin motifs effectively express three keywords-desire, death, and fantasy- with three mirror images-duality, punishment and division.

• The Journal of the Korea Contents Association
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• v.13 no.9
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• pp.58-71
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• 2013

This paper will study on the films of Chang-dong Lee, focused on , , .These films concentrate on the internal mind of hero and heroine who react actively to social reality around their environment. Also these films share another common thing which retain to strong emotional tie with spectator, based on the sympathy through the identification of hero. , < Peppermint Candy> represent to the mixture of realism and de-realism.. Specially shows the mixture of the realism and fantasy. This Quest for the films of Chang-dong Lee will include discussion of a critical attitude from realism, discussion of de-realism factors, and study of screen fantasy from the respective of psychoanalysis.

• Journal of Fashion Business
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• v.9 no.4
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• pp.127-144
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• 2005

The aim of this study is to find out the symbol of clothing decorations in Elsa Schiaparalli's design works and there are four major points due to the aim of this study. Firstly, a fantasy is represented through Surrealistic Arts which creates mysterious, secrete, and surprising spirits. In Surrealistic Arts, the fashion of schiaparelli demonstrates a fantasy spirit by using the methods like metaphor, transformation, and re-positioning. Secondly, In Surrealistic paintings, normally double image or different image from symbol immanent were expressed. However, Elsa Schiaparelli used double and multi-image decorations instead that has well-organized formative effect. The mixture of double images can be separated as symbolic mixture, design mixture and expressive mixture. Thirdly, the body parts has represented symbolism and sensuality in Surrealism Arts. Elsa Schiaparelli has demonstrated the expression of modern clothing as passionate, desirable, and powerful. This is the reason why her designs were absolutely different from the previous sihouette-focused clothing. Fourth, there are lots of intentional decoration that are different from actual images, such as transformation, exaggeration, minimization and repettion, as well as, re-location, re-arrangement, line-up arrangement, collage and odd materials.

• Journal of Fashion Business
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• v.20 no.2
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• pp.78-96
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• 2016

This study investigated the colors of the costumes and backgrounds of characters in the fantasy film, Alice in Wonderland(2010) by Tim Burton. The methods used were literature studies including related books, articles and internet materials, and positive research with DVD color analysis. Twenty-one scenes were selected by the researcher. Five scenes were selected from novel and film components representing, exposition, complication, crisis, climax, and denouement. After controlled pixel by photoshop program and the represented colors, hues and tones were analyzed. The results were as follows; First, in four characters, Alice's dress colors changed depend on the situation and the passage offered from blue to red, metal light, and blue green. The Mad Hatter's colors were orange with green which signified madness and passion. The Red Queen's red dress and blue make up represented countrified and evil. The White Queen's all white dress and hair, black eyes and vivid red meant purity and nobility. Similar characters' colors were limited. Second, the background colors, especially tones were an important component of the fantasy image. These were different for each type of scene in the film such as exposition, complication, crisis, climax, and denouement.

• Journal of Fashion Business
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• v.18 no.5
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• pp.171-183
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• 2014

In general, the idea of fun is understood to be associated with interesting things, playfulnesses, joy, pleasure, etc. The "fun culture," which seeks enjoyment and pleasure through life, is a characteristic of elements observed in today's society and culture. This exerts a powerful impacts on the business operation, marketing, and product manufacturing. Moreover, it is accepted as one of remarkable phenomena representing the changing trends of fashion in the 21st century. The objectives of this study were to analyze and categorize the fun motifs observed in fashion designer Walter Van Beirendonck 's collections, to examine their formative characteristics, and to establish academic approaches and analytic framework in studying the fun phenomenon emerging in fashion. As to research methods, this study laid a theoretical ground by reviewing the related literature and previous studies, and conducted a positive case study using the data on Walter Van Beirendonck's collections and exhibitions. According to the results of this study, the fun motifs represented in Walter Van Beirendonck's collections are largely categorized into "deviation from rules," "humorous and obscene graphic images," "introduction and transformation of heterogeneous elements," "women with male gender' etc. On the other side of Walter Van Beirendonck's fashion are sex, sexual humors, sexuality, fetishism, love, form, body, language, social phenomena, harmony between nature and life, consumerism, race, shamanism, tribal rituals, nation, cultural collision, transcendent things, science fictions, cyber Space, dream, alien, future, fairytale, fantasy etc. which are expressed by using fun motifs. Moreover, these themes are led to masculinity and fantasy.

• English & American cultural studies
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• v.14 no.2
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• pp.49-75
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• 2014

This paper argues that John Leguizamo disguises ethical intention with humor in his one-person show, Freak. The argument proceeds in three stages. First, on the basis of Slavoj ${\check{Z}}i{\check{z}}ek^{\prime}s$ theory that fantasies teach us how to desire discussed in The Sublime Object of Ideology, I analyze how and why Leguizamo exaggerates and thus de-constructs the ideological fantasies about Latin Americans in Freak. Through this analysis the ridiculous exaggeration of the fantasies and their deconstruction emerges as the means to surface the trauma caused by the fantasies, internally and externally curing and reconciling the audience. Second, I apply ${\check{Z}}i{\check{z}}ek^{\prime}s$ theory of the quilting point introduced in Looking Awry: An Introduction to Jacques Lacan through Popular Culture to reveal how "blots" in Freak form "black holes" in the audience's consciousness to smash their established view of the reality, inducing them to encounter with "the real." The investigation into Leguizamo's use of humor as the quilting point illuminates how he invites the audience to look awry beyond the popular fantasy at "the real" America. Third, on the ground of Emmanuel Levinas's theory that theaters are the space of ethics, namely "ethotopos" to emphasize responsible actions discussed in "Ethics as First Philosophy," I assert that Leguizamo disguises his ethical message with humor so as for the audience to recognize their responsibility for others in America and take action towards change.

• Cartoon and Animation Studies
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• s.39
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• pp.183-214
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• 2015

For a long time, Disney has made animations including world views such as family-focused, conservative ideology, happy ending, etc. for families. Periodical situation and spectators' demands have been changed little by little, but Disney is still a company who is the most successful both nominally and virtually in animation industry. For the secrets of their success, there is fantasy world of fabricated animation, thoroughly organized story and image. When spectators watch animations, their sufficient immersion in the fantasy is to let them forget realities. In the introduction of Disney animations, spectators turn off the switch of realities and turn on the switch of fantasy world through the procedure to recognize and confirm virtual world sufficiently. In the switch of the introduction used frequently by Disney, there are four methods. First is to start while opening the cover of storybook. Second is to start while storyteller gives a talk directly. Third is to start with live action film and continue to animation. Fourth is musical method. Those four switches play a role of the gate which distinguishes spectators' realities from Disney's fantasy clearly. The process makes an opportunity to set spectators who feel uneasy due to the vague boundary between realities and fantasy at ease and let them immerse in animation sufficiently with mind at ease.

• Journal of Popular Narrative
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• v.26 no.3
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• pp.87-120
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• 2020

The study noted the characteristics of the web novel's 'Book Travel' motif, which reflects the characteristics of popular culture content, which is free to use familiar genre grammar or code. The imagination of the main character entering the work he read in the real world is a reinterpretation of the existing genre grammar of the web novel, and studying the motif is meaningful in reviewing the intertext of the genre. This motif, summarized as 'Book Travel' differs from other genres in the romance fantasy genre, which can also be used to reveal the gender characteristics of the genre. The study noted that the 'Book Travel' motif was born from an interactive interpretation of existing narratives, thus having a affinity with dimensional shift, regression, and alternative historical objects, and referring to the writing norms of Fanfiction. Through this, it was predicted that the re-combination of existing narratives and interference between genres would continue in the future. Next, the original move in the romance fantasy genre was seen as quite conservative and revealing the logic of self-improvement even though people around him became the main characters and overthrew the narrative. The characters should use their knowledge of the future of the real world to fight in a world of survival where destruction has been predicted. The appearance of an ethical and self-help subject is interesting, but on the other hand, I could look at conservatism in that romance is a way of survival and achievement of characters. The research is meaningful in that it reviewed the characteristics of the original transfer motif, which started fairly quickly in the romance fantasy genre, and reviewed its appearance background and characteristics. There was a limit to the collection of physical works and limited platform. The above limits are intended to be supplemented by further reviewing and supplementing later works.

• Journal of the Korean Applied Science and Technology
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• v.40 no.2
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• pp.355-362
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• 2023

Characters in visual media have different symbolic meanings depending on their orientations or roles. 『山海經』 is a fantasy novel written around the 3rd or 4th century BC., and the characters in the classical Chinese novel have various meanings and symbols, such as disasters, wealth, diseases, etc., according to their types. The symbolism of animals that the Chinese think of, the symbolism of characters in fantasy novels, and the morphological analysis are necessary elements in the development of characters and the film industry in China. This study analyzed the images of characters as follows, focusing on classical Chinese fantasy novels 『山海经』, 『山海经圖象全體』, and 『山海經圖』 and the fantasy novels of the Qing Dynasty 『山海经存』 and 『山海经圖錄』. First, the shapes of characters are slightly different in illustration images. Second, Among 453 characters in 山海經, there are a total of 8 characters related to flood damage, such as floods, rainy season, etc.: 'Jangwoo', 'Hapyu', 'Hwasa', 'Yeongryeong', 'Buje', 'Seungwoo', 'Manman', and 'Naeo' Third, it can be seen that the characters are creative ones that are combined with objects and animals and plants, apart from the symbolic meanings of real animals and characters in 山海經. It is believed that the continuous analysis of the characters in 山海經 will enable them to be widely used in the film industry.

• Explosives and Blasting
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• v.11 no.3
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• pp.46-56
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• 1993