• 디지털융복합연구
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• 제14권2호
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• pp.359-367
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• 2016

국내의 사진교육의 현실은 사진의 특성인 의미론과 언어성 그리고 새로운 예술개념의 표현가능성을 생략하고, 대체로 실기교육으로 구성하여 직업교육이라는 틀 안에서 이미 확장된 사진의 의미를 축소시키고 있다. 이 글의 초점은 지나친 실기 중심의 사진교육을 시각적 언어성을 기초로 한 이론과 조화를 이루어 단순한 기록이나 전달이 아닌 보다 폭 넓은 시각예술로서 연구하고 교육할 수 있어야 한다는 것을 목표로 하고 있다. 먼저 사진과 관련된 이론과 교육관련 연구를 고찰하였다. 사진 이론의 대표적인 연구자인 라즐로 모호이-너지와 발터 벤야민 그리고 수잔 손택의 논의들을 살펴본 뒤에, 대학을 중심으로 교육계에 이론을 강조하는 빅터 버긴, 사이몬 와트니 그리고 데이비드 베이트의 선험적 결과를 분석하였다. 이어서 자키아 등과 이왈드의 교육 실제를 탐색하여 사진이 초등교육부터 대학에 이르기까지 어떻게 활동하고 기능하였는가를 논의하였다. 말미에서는 앞에서 연구된 논의를 통해 도출된 사진의 예술이론과 교육적인 접근에 근거하여 한국에서의 사진 교육이 가져야 할 과제와 방향은 무엇인지를 제안하면서 결론을 맺었다.

• 미술이론과 현장
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• 제9호
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• pp.59-91
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• 2010

The Bauhaus educational method gave the strong influences on Modern Japanese art and design education. In the 1920s and 1930s, Japan allied with Germany and Italy politically and tried to receive German system to be modernized. The reception of the Bauhaus and Moholy-Nagy's photographic theory was one of those activities at that time. Japanese intellectual class went to the Bauhaus and studied there; Ishimoto Kikuchi, Nakata Sadanosuke, Mijutani Takehiko, Yamawaki Iwao and Yamawaki Michiko(Yamawaki Iwao's wife). Especially, Yamawaki Iwao studied about the architecture at the Bauhaus, but his interest moved toward the photography and the photomontage based on Moholy-Nagy's theory. He studied at the photography workshop of the Bauhaus presented by Peterhans irregularly. Even though Yamawaki Iwao was an architect, he wanted to be admitted as an expert for the photomontage that he particularly studied at the Bauahus as a Bauhaus member. He had presented many articles about the photomontage at the photography magazines in Japan in order to introduce it to Japan since he returned in 1933. Thus, Yamawaki Iwao is the important person when we look back the Modern Japanese design and art history. In Japan, the art and design systems are managed by the Bauhaus educational system until now, and it has become a kind of cultural legacy in Modern Japan; The university of Tama and The university of Tsukuba are the representative educational systems which are based on the Bauhaus legacy. However, Yamawaki Iwao had been concealed as a photographer in Japanese design and photography history until the retrospective discuss named by 'Bauhaus syashin(Bauhaus Photographies)' at the photography magazine, Deja-vu in 1995 and the retrospective exhibition titled as 'Bauhaus syashin(bauahustofografie)' in 1997. This study rethinks of Yamawaki Iwao's historical position while looking at the term as 'Bauhaus Syashin(Bauhaus Photographies)' used in Japan. It is very important to bear in mind Moholy-Nagy's wide variety of approaches to photography at the Bauhaus, but it is impossible to name it 'Bauhaus style'. 'Bauhaus style' is the international style in architecture, but that was never a Bauhaus style in photography. Eugene J. Prakapas indicated that the vague term of 'Bauhaus Photographies' in his article in 1985 as well. This study considers the historical background for the mistake of the term of 'Bauhaus Syashin(Bauhaus Photographies)' in Modern Japanese history, while looking at Yamawaki Iwao's photomontage faintly entering on the historical stage again to discuss the reception of the photomontage from him. In particular, Some of Yamawaki Iwao's photomontage presented as the wall photography in Japan during the Second World War, that was related to the propaganda of Japanese government. It had not been known well in the modern Japanese art and design history because it was related to a declaration of the Second World War by Japan. However, the historical position of his photomontage is very important for Japanese history when we rethink of the reception of the Bauhaus and Moholy-Nagys' photographic theory to build up the Japanese modern history. In the result, this study wants to discuss that the mistake of the term of 'Bauhaus syashin(Bauhaus Photographies)' in Japan is related to the interpretation for the the historical position for Yamawaki Iwao's photomontage in the reception of Bauhaus and Moholy-Nagy's photography in Japan.

• 비교문화연구
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• 제34권
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• pp.71-92
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• 2014

This article presents a study on the concept of "Photogenie", which refers to the duality and mentality of the photographic image, with the viewpoint regarding the photographic image by Edgar Morin. First, we will look at the evolution of the concept of "Photogenie". From the field of photography, the term "Photogenie" means objects that produce light, enough to impress the photographic plate. But theorists of cinema at the beginning of the 20th century have changed the meaning of the term. For Louis Delluc, the "Photogenie" means the effect of union between the reproduction of real and artistic genius. For Jean Epstein, the "Photogenie" means mental quality, nonmaterial or inderterminable, of the photographic and cinematographic image. But Morin synthesized the arguements of Delluc and Epstein. For him, the "Photogenie" indicates both a double character of the photographic image and its mental quality. Then, based on this concept of "Photogenie," Morin said on particular aspects in the photographic image. Considering photography as a double in the anthropological sense, it puts emphasis not only the dual nature of the photographic image but also mental and spiritual quality. Combining the theory of the mage Henri Bergson and Jean-Paul Sartre, he builds his own theory of the mage that concerns both photography and cinema. In short, to Morin, the photographic image is a place where coexist absence and presence, the real and the imaginary, perception and memory, the material and mental, as well that a place of mentality which appear all our memories, hallucinations, dreams, imagination etc.

• 한국언론정보학보
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• 제67권
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• pp.62-87
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• 2014

이 연구는 현재의 디지털기술과 연결된 사진행위를 이해하기 위한 협업적 연구이며 동시에 자기민속지학 방법을 이용해 연구의 자기 치료적 효과와 지식의 권력관계를 엿볼 수 있는 기회도 제공한다. 두 연구자는 디지털 카메라, SNS, 스마트폰과 같은 디지털미디어를 이용하는 사진행위가 갖는 의미를 개인의 정체성 구성, 개인적 삶의 다큐멘터리 만들기라는 관점에서 접근했다. 그 결과, 디지털 사진을 다큐멘트가 아닌 아카이브로 볼 수 있으며 디지털 사진행위를 ANT의 관점에서 인간과 비인간 행위자들의 네트워크 형성과 변화의 과정이라고 이해할 수 있다는 것을 발견했다.

• 복식문화연구
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• 제23권1호
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• pp.1-10
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• 2015

This study, which focuses on a masquerade, starts from the concept that all men exist as visual objects as well as visual subjects before discussing an issue of sexuality to inquire into masquerade characteristics of fashion photography. Masquerade is a concept that can describe various and multidimensional attributes of humans in social norms prescribed separately for men and women till now, and the concept has not yet been introduced in the field of fashion. However, it is considered a measure to analyze contemporary expressions of sexuality, on which a need for this research is raised. This study looks into the basic concept of the object and the ego through a psychoanalysis-related literature review. This study, then inquires into Jacques Lacan's notion of gaze and Roger Caillois's theory of mimicry through related specialty publications. This study reinterprets the concept of masquerade from Lacan's perspective and carries out an empirical analysis of masquerade characteristics in contemporary fashion photography based on the result drawn in parallel. Sexual masquerade shown in fashion photography based on the concept of masquerade is as follows: first, it appears as normative sexual description, divided into male and female by social norms; second, sexual ambiguity, obscuring the distinction between the sexes through playful and bombastic forms; and lastly, sexual subversion, disguising as the opposite sex through putting on clothes of the opposite sex.

• 한국정밀공학회지
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• 제20권6호
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• pp.47-54
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• 2003

As a tool for strain measurement to work with screw driven or hydraulic material test systems, in which mechanical vibration is inherent, SSDG (Speckle Strain/Displacement Gage), ESP (Electronic Speckle Photography) and its 3-dimension version SDSP are evaluated for the theory and practical appliance. Through tension test of steel strips, their validity and shortcomings are examined. As the results, it has been shown that, although SSDG and ESP provide direct measurement of in-plane strain in one direction, they are so sensitive to the out-plane displacement. On the other hand, SDSP which is aided with DIC (Digital Image Correlation) technique to trace the movement of the speckles provides not only in-plane 2-dimensional displacement field, but also out-of-plane displacement simultaneously. However, because the DIC is time-consuming, not automated yet and it needs post-processing to evaluate strain from the displacement field, SDSP appears to be not adequate as a real time sensor.

• 복식문화연구
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• 제30권6호
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• pp.861-879
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• 2022

Simulacre means a copy of the original, an ostensible representation of someone or something. This study closely looks at the 2017 <VOGUE like a painting exhibition> hosted by the fashion magazine Vogue. The purpose of this study is to use both theoretical and empirical analysis to analyze the simulacre developed in fashion photographs inspired by famous paintings in the exhibition booklet. The booklet is divided into four sections: portrait, rococo, landscape painting, from avant-garde to pop art. It also contains 55 pieces comparing the original masterpieces to the works of 26 photographers inspired by them. The fashion photographs were analyzed using Jean Baudrillard's four stages of simulacre transformation: represent, denature, dissimulate, and replace image change theory. The degree of simulacre expression was indicated three times on a four-point Likert scale by five fashion majors, and the results were integrated and analyzed. As a result, in fashion photography, simulacre-due to the development of photography technology and the photographer's artistry-appeared in various ways; image denature was most preferred, followed by dissimulate, represent, and replace. This study shows that image analysis of fashion photo-graphs and applying the perspective of simulacre when creating artworks can be a way to obtain rich qualitative data in the future.

• 미술이론과 현장
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• 제15호
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• pp.51-79
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• 2013

This paper examines the characteristics of post-modern self-portrait photography. Characteristics of postmodernism associated with the "loss of centeredness," such as the death of the author, interdisciplinarity, and intertextuality, brought about a number of changes within the self-portrait. The distinction between post-modern and modern self-portraiture can be characterized by the following qualities: appropriation, the use of photography, and the utilization of the human body as an art. The characteristics of post-modern self-portrait photography can be represented through the works of Cindy Sherman, Orlan, and Morimura Yasumasa. By presenting prototypical women in her works, Cindy Sherman not only represents images of those women, but also exposes her fictitious role in the work. She creates a distance between herself in the works and herself in reality and discloses a paternalistic gaze. Meanwhile, Orlan transforms her face into a distorted image and presents it as an alternative identity that is representative of postmodernism. She corrodes the standard concept of identity through plastic surgery and treats the face not as a place where the identity stays, but as a simple body part or fragment of skin. Orlan's post-human face is malleable according to the artist's desire to raise the issue of what the human face is, and opposes the structure of modernism. Morimura Yasumasa also appropriates images from masterpieces and presents a hybrid identity between Eastern and Western, male and female, original and replica, and subject and object. In order to dissect social prejudice, he puts forth every single structural dichotomy that coexists in his self-portrait and suppresses a strong ego. He also studies the relationship between 'seeing' and being 'seen' by trading the painter's role from that of the subject to that of the object.

• 복식문화연구
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• 제23권6호
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• pp.1038-1050
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• 2015

This study is a theoretical research to investigate a methodological framework for analyzing the representation of women in fashion photography. For this study, this article attempts to develop a conceptual framework of the visual representation system through Lacan's gaze theory, and analyze the representational aspects of women configured by gendered characteristics in the visual representation system. Structuralizing the visual representation system based on that theory, the gaze, the image/screen, and the subject of representation in the Lacan's triangle diagram are replaced by the camera as the signifier of gaze, the representational image, and the seeing subject respectively. In the visual representation system, the camera creates a male-oriented visual field and structures a relationship of gendered power between male gaze as the seeing subject and female eye as an object to be seen. Looking into the representational aspects of women in this visual representation system structuralized by male gaze, women are represented in a way that reflects male desire through masquerade to comply with the patriarchal gaze, or differences that emphasizes the uniqueness and autonomy of women released from a patriarchal discourse. This study would be significant in that it provides theoretical basis for an analytic approach to the representation of women in fashion photography which we accept as a fixed one through the ideology of naturalization.

• 한국정밀공학회:학술대회논문집
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• 한국정밀공학회 2002년도 춘계학술대회 논문집
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• pp.688-694
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• 2002

As a tool for strain measurement to work with screw driven or hydraulic material test systems, in which mechanical vibration is inherent, SSDG(Speckle Strain/Displacement Gage), ESP(Electronic Speckle Photography) and its 3-dimension version SDSP are investigated for the theory and practical appliance. Through tension test of steel strips, their validity and shortcomings are examined. As the results, it has been shown that, although SSDG and ESP provide direct measurement of in-plane strain in one direction, they are so sensitive to the out-plane displacement. On the other hand, SDSP which is aided with DIC (Digital Image Correlation) technique to trace the movement of the speckles provides not only in-plane 2-dimensional displacement field, but also out-of-plane displacement simultaneously. However, because the DIC is time-consuming, not automated yet and it needs post-processing to evaluate strain from the displacement field, SDSP appears to be not adequate as a real time sensor.