• The Journal of the Korea Contents Association
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• v.11 no.3
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• pp.157-166
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• 2011

TV sitcom animation is a immensely popular to any religion and age, sex. The five yellow main characters and a great amount of sub characters appear to tell their broad stories every sequence. It makes people laugh using parody and pastiche with the American social subjects and political issues. This paper examines the study of story structures for sitcom animation and main factors of the Simpsons' popularity. The case works are focused on 'The future of korean TV sitcom animation'.

• The Research Journal of the Costume Culture
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• v.7 no.4
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• pp.69-79
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• 1999

The study has the aim to now the significance of hippie dress and hairstyle and to understand the influence upon them in 1990\`. The results of this study are as follow. First, the results of the significance of hippie dress and hairstyle in 1960\` which and analized by the basis of pierce\`s semiotic theory showed social resistence, piece and anti-war, psychodelic, ethnic and nostalgia, and individualism. Second, studying the character of the end of 1990\` when hippie dress and hairstyle reappeared through related the papers, magazine, and articles, we could get the phenomenon of pastiche, postmodernism which had excepted the spiritual significance of hippie in 1960\`.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.3
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• pp.502-515
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• 1997

The purpose of this thesisis to show that, on the basis of a reconstructed theoretical framework of postmodernisuL the seemingly chaotic phenomena in recent fashion specta ole- i.e. extensive eclecticism and deconstruction of styles - can be systematically explained and that it is by no means a transient anomaly. The main task of this thesis is to distill out from the apparently chaotic scene in the Catwalk such distinctive features as 1. the bona fide postmodern subculture fashion as a non-mainstream,2. the subculture elements introduced in the mainstream, pastiche a la Jameson. Our theoretical framework enables us to establish these features as the necessary outcomes and tendencies of postmodern logic.

• Proceedings of the Korea Contents Association Conference
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• 2019.05a
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• pp.103-104
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• 2019

<007 Skyfall Title Sequence Hommage Film>(2015)(이하 본인작품)은 원작 <007 Skyfall Title Sequence>(2012)(이하 원작)을 패션 필름(fashion film)이라는 새로운 형식의 접근과 재매개화(remediation)를 시도한 본인의 작품이다. 본 연구자는 이 작품에서 오마주(hommage)와 패스티쉬(pastiche)기법을 통해 연작 형태의 007 타이틀 시퀀스 제작방식을 그대로 가져오면서도 패션 필름으로 재목적성을 시도하고자 했다. 본 연구는 형식의 변화 과정에서 나타난 오리지널리티의 왜곡(distortion)과 전환(transformations)으로 인해 '원본에 대한 고유성을 침해하는가, 혹은 오마주나 패스티쉬 기법으로 재생산되어 새로운 창작물로서의 가치를 지니는가'에 대한 문제 제기로부터 출발하였다.

• Journal of the Korea Convergence Society
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• v.6 no.6
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• pp.201-212
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• 2015

They insist that there is no more new stuff in modern art to change every circumstance rapidly. According to this situation, they recreate the works which are made with the existed idea or materials, and also transform creative concept which cites the existing functions with modern meaning. Furthermore they can look into any data everywhere from their daily routine using the internet. And this must become one of the general forms which they imitate others' works which are referred or chosen in modern art. These social complextion is called a parody and pastich is technique of the Post Modernism which is the existence of past. Using the new construction, the parody and pastich which can accomplish some better value and bring other meanings makes original recreation with the concept of copying and repeating. It keeps changing and is shaping up to be different aspect so far. Every field has a little different term using its own expression but it keeps empathizing each other a same essential meaning. Although it is like universal mode of expression, It is fact that the public cannot distinguish what is creation, imitation, or piracy. This thesis shows the concept of it and files for terms which is using like that. At last it selects some artist who worked with parody and pastich analyses and compares them and their works.

• Cartoon and Animation Studies
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• s.39
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• pp.157-182
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• 2015

Mr. Folman, an Israeli director, used a highly stylized form of animation in a decidedly adult way to make his documentary about the 1982 war in Lebanon, "Waltz With Bashir," in 2008. After 5 years, he has used another distinctive approach, fusing animation with live action in his latest film, a trippy and surreal undertaking called "The Congress." He dismantled the means through parodies, the core of post-modernism art and built a new meaning to create a unique world view and unique aesthetics. In this study, parodies of the modern concept of post-modernism being used as a major strategy in the creation of art have appeared the four characteristics of post-modern parody: 1) intertextuality, 2) dissolution and fusion of genres, and 3) strengthening of irony, and 4) pastiche. This study is characteristic of post-modern parody that discusses the relevance of contemporary parody and postmodernism being developed by analyzing how they appear on the practical work. Furthermore, through analysis of "The Congress", this study discusses the post-modernist world view and the creative way of creating an experimental art with parody.

• Journal of the Korean Society of Clothing and Textiles
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• v.35 no.6
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• pp.687-699
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• 2011

Folk costumes in East Asia are characteristic in their colors of the five-element colors based on natural colors or achromatic colors (such as white or black) that imply the beauty of nature or the beauty of naivety. The Asian look adopts forms of Asian costumes into western costumes in terms of structure, silhouette, ornament, pattern, and color; in particular, color had very limited attributes. This study is a comparative study on colors, shown in East Asian folk costumes and the Asian look. It discovered the differences of color in East Asian folk costumes and the Asian look to discuss the backgrounds of difference. For research, it simultaneously conducted literary reviews and empirical research based on the Asian look. Asian colors that appeared in some costumes of the Asian look were influenced by East Asian costumes, while the primary color of playfulness or color for low chroma or black exuding a contemporary nuance (common in the western fashion) were prevalent. This revealed that the costume that had the attribute of playfulness in terms of structure, ornament, or patterns is adopted in western fashion through the fusion of eastern forms and pastiche. Colors of the Asian look are different from those of East Asia with superficial imitation, in which all the East Asian spirits and symbolism are lost. While folk costumes of East Asia hold symbolism derived from Asian spirits, the Asian look disintegrates the ideology of East Asian costumes and replaces it with a Postmodern playfulness.

• Journal of the Korean Society of Costume
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• v.56 no.3 s.102
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• pp.129-142
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• 2006

The historicism and romanticism of John Galliano's designs are rivaled only by the spectacular and theatrical nature of his fashion shows; romantic silhouette, the complexity of the cut and, of course, the painstaking attention to historical detail. Galliano's approach is very much that of a British designer in that he absorbs wildly diverging historical and cultural elements to invent new hybridizations of the contemporary. Galliano started his career as part of the wildly uninhibited avant-garde London design scene. His designs were twisted and artfully torn, weired and also beautiful. The purpose of this study is to investigate the Comic Expression depicted on John Galliano's works by borrowing the Comic. The Comic or the Comedy is a kind of art form that signifies exciting effects, and so, is a means of raising a laugh. The similar concepts of the Comic already were depicted by means of transformation and distortion of form, satire, fantastic pastiche and reversion of substances on Cubism, Dada, Surrealism, Pop Art and Postmodernism. Therefore, John Galliano selected the quixotic expressional methods to seek for having playful fun. The aesthetics of the Comic is the beauty based on quantitative or qualitative contradiction between expectations and realizations. That is, the Comic is characterized by getting rid of stress through laugh with clarifying a subject of contradiction. This study found that John Galliano's designs are expressed the quixotic comic on Historical image, Exotic image and Primitive image to make a complaint against the social evils.

• Journal of the Korean Society of Costume
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• v.53 no.3
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• pp.13-31
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• 2003

The purpose of this study is to analyze the formative style and aesthetic value of contemporary subcultural style with the understanding of characteristics of subcultural style in the sociocultural context. As for the research methodology, literary survey has been performed to study the concept and the history of subcultural styles from 1940s to 1980s. In addition, demonstrative studies on aesthetic images have been carried out through the analysis of pictures and photographs in order to categorize the subcultural styles since 1990s. In this study, subcultural styles since 1990s have been illustrated through the socio-cultural grounds. which are diversity of street culture, diffusion of moss culture or bubble-up phenomenon, pursuit of anti-social ideology among intellectual heads, club Cultures in the form of kitsch and pastiche and communal thinking as collective harmony. With the socio-cultural context examined above, subcultural styles in the contemporary fashion are categorized and deduced following aesthetic values ; Drag and Club style as the tendency of surrealists or artificial hedonists, Urban military style and Cyberpunks as pursuit of Bionic being, Sports casual style based upon, the pursuit of comfort and freedom, Vintage style and Retro dressing represented by the spirit of DIY (no It Yourself), Ecology style of New conservatives, and Mysticism style as the fusion of technology and shamanism (Technoshamanism).

• Journal of the Korean Society of Costume
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• v.51 no.6
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• pp.147-165
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• 2001

Haute couture denotes a luxurious made-to-order dressmaker's shop. In principle, it refers to a place that is registered with the Paris Apparel Association and has met the size and criteria specified by the association. The features of modern fashion expressed in haute couture have been contemplated by categorizing them into mixed impression appearing in haute couture work pieces. turning the collection event into a spectacle and commercialization for the succession of haute couture. Mixed impression manifested in the haute couture has engendered (1) the creative and dynamic feature (2) eclecticism with popular culture (3) mixed impression of reactionism (4) ethnic characteristics. From the above considerations, one could say that the factors drive the very existence of haute couture and comprise three elements of impeccable backgrounds, They are (1) organizing ability and protective policies of the French fashion industry, (2) relentless experimental spirit of the haute couture designers and (3) Paris that supports creativity and fashion fabrication, have coincided with rising up of the value of persistence on originality of work pieces in accordance with diversifying cultural transformations. consumer-oriented patterns by way of capital symbolized by consumers and restructuring of company operation by each shop. This report describes comprehensive understanding of haute couture, creativity and dynamic power of the haute couture work pieces. Akin to the efforts to maintain the existence of high-grade cultures throughout the overall cultures themselves, haute couture, on the basis of these factors, should also become the motive power through which luxurious culture in fashion is created in the days ahead.