• The Journal of Art Theory & Practice
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• no.8
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• pp.7-31
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• 2009

This thesis is a study on Sook-Jae Lim(1899~1937) and Korean modern design. In modern Korea, design like most cultural advances came from western culture, that was introduced via Japan. So Korean design can be betterunderstood from observing Japanese modern design history. The research on Japanese modern design, however, is not being done actively. Sook-Jae Lim was the first Korean to graduate from the Department of Design at Tokyo Fine Arts School (currently the Tokyo National University of Fine Arts and Music). He died at a premature 38 years old, so very little of his works exist. That makes the study about him very difficult. From this perspective, the study aims to examine modern design concepts and styles accepted into Korea from Japan and position Lim as an early design pioneer in Korean design history, by using research of Korean and Japanese design fields in the modern era with focus on Lim and his works. Chapter II researches the process of how the concept of design was formed in modern Japan and how the "Art-Nouveau" style not only represents early modern design but also features Lim's works dominantly. Chapter III looks into the process of how the concept of design was formed and which design styles were introduced and applied in modern Korea. Chapter IV analyzes how Lim's viewpoint on design and his works were developed with observations about the tendency of the Japanese design field and curriculums of the Tokyo Fine Arts School during the period of his college days.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.2 s.161
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• pp.319-330
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• 2007

The purpose of this study is to improve ubiquitous fashion design which adolescents can be satisfied with. The methods of this study are documentary research of previous studies, survey research and deep interviews. For this study 371 students are selected as samples of survey. As a result of this study, we could know that the adolescents of the 21st century are enjoying actively the culture of consumers and the culture of information era. Domestic adolescents have much knowledge and interest in information and in UFC fashion products. So we can predict that domestic adolescents' interest and desire of UFC fashion products will increase gradually. As for using occasions, adolescents will use UFC fashion products for 'mobile', 'exercise', 'social followship', and as for using purposes, they will use UFC fashion products for 'listening to music', 'playing games', 'communication', 'search for information', etc. So when we develop UFC fashion products for adolescents, we'd rather develop the products for entertainment than for studying. To satisfy the various tastes of adolescents, UFC fashion products must also consider the design factors like styles, colors, materials, etc. In conclusion all UFC fashion products for adolescents must have not only the basic qualities like functions and conveniences, but also the qualities of designs.

• Journal of the Korean Society of Costume
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• v.64 no.2
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• pp.98-112
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• 2014

Since 2010, Goth styles have risen rapidly in prominence as one of the major trends of fashion. This study intends to understand the Goth style shown from the modern fashion by examining its historically formative characteristics and internal meanings of the Goth style. With mystic attitude toward the medieval Gothic culture, Goth style refers to its reproduction over the cultural circles including music, literature and arts. From the result of the historical review, the formative characteristics of the Goth style may be divided into darkness, distortion, memento mori and bricolage. The historical review of the Goth style contains symbolic meaning of mystery, terror, escape and theatricality. After 2000, Goth style, in combination with factors such as postmodernism and human desire, has been established as the main trend of modern fashion, going with the popular culture. The formativeness of modern Goth fashion is the same as that of Goth style examined from the historic review. However, in modern Goth fashion, the symbolic meaning has the processes of the new: unconsciousness, kitsch, overthrow and popularity.

• Journal of Fashion Business
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• v.10 no.4
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• pp.114-129
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• 2006

This purpose of this study is to research on the influence on the creation of young generation's street fashion of pop stars focused on pop music given the fact that fashion can be created by popular culture in this multi-media era. Also, this study is to provide useful data for the activation of the creation of young fashion culture and the fashion industry through pop stars' fashion. The pop stars' fashion that has affected young street fashion is as follows : Elvis Presley's rock'n'roll style, Beatles' mods style, Janis Joplin's hippy style, Sex Pistols's punk style, Madonna's boy-toy and corset style, Michael Jackson's androgynous style, Puff Daddy and L.L Cool J's hip-hop style, Bob Marley's reggae style, Spice Girls, Jennifer Lopez and Britney Spears's sexy style. The young street fashion culture of pop stars and its industrial meaning withdrawn from the above are as follows : Creation of a fashion icon, Creation of anti-fashion, Liberation of a sex role, Costume play culture, Activation of the young fashion industry through star marketing.

• Journal of the Korean Society of Costume
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• v.36
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• pp.239-262
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• 1998

The pursuit of freedom by the individual--desire to be liberated from all forms of restrictions-- is one of the defining character-istic of the modern society. As costume is, in part, a product of the spirit of the times, it was only natural that this desire for freedom would find its expression in modern costume as well. Among various forms of restrictions, differentiaton by sex has placed one of the most significant binding influences on individual behavior. From early times, the dichotomous division by sex was incorporated into the disign of costume, and the traditional differestriction of costume by sex imposed a significant restriction on the background,“the modern androhynous look”was born as a by-product of the sexual liberation movement in the second half of the 20th century, based on the concept of the individual as a complete human being rather than as a member exclusively of either the male or the female sex. This paper seeks to examine the androgynous look within a coherent theoretical frame-work, and explore new design possibilities by analyzing and understanding the visual characteristics of the androgynous look. In addition, this paper seeks to define the functional aspects of the androgynous look based on the premise that costume is an embodiment of the spirit of the times. As for research methodology, both theoretical and historical methods are employed. Through a theoretical examination of historical documents, the meaning of the androgynous look is explored from various angles, and order to examine its place in modern fashion, an-drogynous styles are categorized and system atically analyzed. The main findings of the paper can be summarized as follows : 1. Androgyny is a compound word consisting of“andro-”(meaning man) and“gyn-”(meaning woman). In modern times, this word has been associated with the socio-cultural aspect of gender rather than the physical or physiological aspect with the pshchological characteristics of the male and female sexes. Androgynous styles also appear in fashion and general arts such as drama, film, dance, and music. In fashion, the androgynous look, represented by the visual superimposition of “masculine”and “faminine”elements, has emerged as a major element of the 20th-century costume, and has gained broad acceptance among those free spirits wishing to be liberated from the conventional conceptions of male clothing, and the unisex look. 3. The androgynous look in modern fashion reflects the spirit of the 20th century society and culture, and performs various functions as follows : expression of fun, change in gender roles, expression of the inner consciousness, and pursuit of the ideal human type.

• Journal of Korea Entertainment Industry Association
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• v.15 no.4
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• pp.157-166
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• 2021

The purpose of this study is to understand the characteristics of contemporary vocalization and songs in order to learn various vocal methods in musical vocal classes and apply them to students. Musical vocalization methods change and evolve according to the demands of the times. Today, the characteristics of contemporary musicals cannot be limited to anyone genre, and the genre of music as well as the style of work are derived from several genres and coexist. 'The Girl in 14G,' the subject of this study, is a song that appeared in the album of Kristin Chenoweth, a famous American musical actress who uses various vocal techniques. Jeanine Tesori composed this song with various vocal techniques such as Classical, Jazz, Belting, and Mixed Voice to express New York's representative music genres of Broadway Musical, Metropolitan Opera and East Village Jazz. The development of the song consists of a difficult process in which one actor has to act across three different characters in three musical styles and singing methods. Singing 'The Girl in 14G' requires a lot of effort and practice as it is necessary to acquire various vocal techniques, which makes it a good text for students and actors in the educational perspective. As a result, this study confirmed that this song is a representative piece with a solid musical and dramatic composition and is a good example that shows the convergence characteristics of contemporary musical vocal techniques.

• The Research Journal of the Costume Culture
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• v.17 no.3
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• pp.407-423
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• 2009

The purpose of this study is to analyze Bakst's stage costume illustrations for Ballets Russes. The Russian Ballets has renown in the West since the early 20th century. Diaghilev first made his name as the organizer of art exhibitions in Russia and Western Europe. Diaghilev risked presenting only ballets in 1909, that time Bakst designed $Sch{\acute{e}}h{\acute{e}}razade$, L'Oiseau de Feu and Le Carnival. $Sch{\acute{e}}h{\acute{e}}razade$ was something new which overwhelmed the French people by then. It was seen to be the achievement of Wagner's idea where all the elements; the music, the design, the choreography, and the dancing fused into a perfect whole. The entire production was a hitherto unseen harmony of colors, sounds and movements. For the 1911 season in Paris, Diaghilev planned to present six new ballets and Bakst designed four ballets. Bakst's design of the set and the costume greatly shocked the audience. His "Originality" shines on the fact that he introduced a palette of colors in theater for the first time in history. He used a magic of colors to suggest the secret meaning of what was happening on the stage. The results can be divided into three distinct characteristics. First, oriental designs such as $Cl{\acute{e}}op{\hat{a}}tre$, $Sch{\acute{e}}h{\acute{e}}razade$, L'Oiseau de Feu, La $P{\acute{e}}ri$ and Le Dieu Blue with Russian, Indian and Persian traditional design in headdress and accessories ars found. Second, Le Carnival and La Spectre de la Rose used romantic styles with oriental details. Third, Greek chiton and Himation are used in Narcisse, $H{\acute{e}}l{\grave{e}}ne$ de Sparte, $L'Apr{\grave{e}}s-Midi\;d^{\grave{\;}}un$ Faune and Daphnis et $Chlo{\acute{e}}$ inspirde with various colors and geometic patterns. Bakst's orient of lush colored costumes, head dress, cushions, rugs and hangings became the immediate fashion imitated by Parisian couture houses and interior decorators.

• Korean Institute of Interior Design Journal
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• v.25 no.1
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• pp.101-114
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• 2016

In the center of our ancestor's culture, there were poetry, calligraphy, and painting. Above all, poetry was the heart of the culture involved in everyday life. The beauty of poetry was not limited to appreciation of the poetry but it influenced calligraphy, painting, seals, music, architecture and even how the ancestors viewed their lives. Categories of poetry(詩品, CP hereafter) is the poetry written to deliberate the style of poems and its influence went beyond the fields of calligraphy and painting. Even now, our architecture reflects the sentimental influences and values of CP. In order to understand the attitude, mind, and the world view of the architects in the past, comprehensive and deep understanding of their philosophy as well as their cultural and social norms is needed. In this paper, CP is used as the means to investigate and develop such understanding of our ancestors' philosophy and culture. This paper also intends to investigate how the seclusive thinking of Neo-Confucianism is reflected in CP and the overall literature. In addition, this paper aims to examine the trace of CP in traditional architecture as well as the relationships and the flow among various styles of CP. This study therefore serves as an important base in understanding the ancestor's philosophy that pursued balance between life and art, reason and emotion, study and practice, and their architectural expression. It is also expected that this study would work as the groundwork to regain our traditional culture identity.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.359-384
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• 2012

The purpose of this study was to explore the theatrical aesthetics of the performances which was produced by the theater director, Yang Jung-Ung. Yang has been one of the most influential directors working in Korea in the last 15 years. He has put up performances all over the world with the theater members from his company called Yohangza, which was founded by him in 1997, and working as the director, portrayed his style of the theatrical aesthetics through the works of its plays and musical products. In 2012, this company performed A Midsummer Night's Dream at Shakespeare's Globe Theatre. A Midsummer Night's Dream was invited to be staged at the Barbican Center in 2006. In the same year, it received the grand prize and the Audience Choice award at the Gdansk International Shakespeare Festival in Poland. The musical products like A Good Woman from Seoul and the modern Opera Wozeck are representative works of Yohangza, which are known for a unique way of exploring the meaning of life. The 2009 plays Hamlet and Peer Gynt represent Yohangza's simpler yet more insightful theatrical style. Peer Gynt, which debuted at the LG Art Center, made headlines for its innovative staging. It received the grand prix, Best Director and Best Stage Art awards at the 2009 Korea Theater Awards. Yohangza's plays show two-side "image-based" works. The company drastically reduced verbal lines and enriched the plays with Korean sentiment and aesthetics, but their scripts contained many poetic lines full of overtones. They showed a theatrical mise-en-scene of images, energetic dance, songs in chorus and percussion. For example, Korean sentiments were subtly blended into the two Shakespeare's plays, A Midsummer Night's Dream and Twelfth Nights. Their performance combines music, mime, song and dance to create an exhilarating adaptation of Shakespeare's inventive and glittering comedy. In addition, the style of Yohangza Theatre Company is a collision of the past and the present: a reworking of existing Korean styles and themes infused with contemporary elements and full of unique exploration in the plays.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.209-221
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• 2019

A found-footage film La France est notre patrie is a documentary, in which archive images are juxtaposed with intertitles, non-diegetic music and foley, by borrowing an audiovisual strategy of silent films. The filmmaker Rithy Panh has excavated the images, which had been taken during the same period as the film history of the end of the 19^th and early 20^th centuries in Southeast Asia and Africa under French colonial rule. This paper examines the filmmaker's methods of historiography when utilizing archive images in order to represent the past by referring to Walter Benjamin's concept of historical montage and dialectical image. As the analysis illustrates the singularity of constructive methods, which include multi-layer viewpoints and montage styles of compilation and collage, it reveals how La France est notre patrie elicits the essay film modes through its self-reflexivity, leads audience to the threshold of critical thinking about time and history and creates a discourse of counter-memory.