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중국 전통 복식 문양은 독특한 예술적 스타일로 인해 세계 패션위크 무대에 자주 등장하고 있다. 문양은 중국 전통문화에서 중요한 구성 요소로서 부단한 변천과 발전 과정을 거쳐 청나라 시대에 절정에 이르렀다. 따라서 본 연구는 현대 패션디자인에 나타난 청나라 복식의 용과 봉황 문양의 미적 특성에 대한 탐색을 목적으로 하였다. 우선 이론적인 배경에서 용과 봉황 문양과 관련한 선행연구들을 살펴보았으며, 중국 역사의 여러 시기별 로 용과 봉황의 문양이 어떻게 변천되었는지 그 특징을 정리하였다. 또한 용과 봉황 문양의 미적 특성을 고찰하여 복식 속에서 표현된 미적 특성을 정리하였으며, 청나라 복식에서 표현된 용과 봉황 문양의 특징을 분석한 다음 현대 패션디자인에서 어떻게 표현되었는지를 분석하였다. 이론적 배경을 기초로 하여 2015 S/S부터 2022 F/W까 지 세계 4대 컬렉션에서 발표된 작품들을 패션 전문 사이트 보그에서 검색한 결과, 용과 봉황 문양을 응용한 사례는 181건이 있었으며, 그 중에서 청나라 복식의 용과 봉황 문양을 응용한 사례는 88건으로 나타났다. 현대 패션디자인에서 나타난 청나라 복식의 용과 봉황 문양의 주요 미적 특성으로는 융합미, 현대미, 장식미, 자연미 로 요약될 수 있다. 본 연구의 결과를 통해 향후 패션디자인 영역에서 용과 봉황 문양을 활용하는 데 참고 자료를 제공하길 바라며, 더 나아가 현대 디자인에서의 전통 문양의 응용에 대한 다양한 아이디어를 제공할 수 있기를 기대하는 바이다. 또한 본 연구를 통해 중국 전통문화 및 전통적인 용과 봉황 문양의 미적 가치를 더욱 잘 이해하는데 일조할 수 있기를 기대한다.

The unique artistic style of traditional Chinese patterns frequently appears on contemporary pieces showcased on the stage during international fashion weeks. As an important component of traditional Chinese culture, the pattern underwent several evolutions and developments, reaching its peak in the Qing dynasty. Therefore, this research aimed to explore the aesthetic characteristics of the Qing dynasty dragon and phoenix costume patterns in contemporary fashion design. In the theoretical background, this paper reviews previous studies on dragon and phoenix patterns and sorts out the characteristics of the changes in dragon and phoenix patterns throughout different periods of Chinese history. In addition, it examines prior research on the aesthetic characteristics of dragon and phoenix patterns and summarizes those characteristics. The dragon and phoenix patterns in the Qing dynasty costumes and their expression in contemporary fashion design are analyzed. Data were obtained from show photos of the four major international fashion weeks from 2015S/S to 2022 F/W in Vogue website. The website showcased 181 pictures of fashion pieces that used dragon and phoenix patterns; among them, there are 88 pictures of the Qing dynasty dragon and phoenix patterns. The aesthetic characteristics of the Qing dynasty dragon and phoenix patterns in contemporary fashion design are mainly manifested in fusion beauty, modern beauty, decorative beauty, and natural beauty. This research provides basic information for future clothing designs using dragon and phoenix patterns and provides different ideas for the application of traditional patterns in contemporary fashion designs. Moreover, this research allows for a better understanding of traditional Chinese culture and the beauty of traditional dragon and phoenix patterns.

패션은 인간이 가지고 있는 욕망을 담아내고자 하는 미적 도구로서 개인과 사회가 관심을 가지고 추구하 는 가치를 알아낼 수 있는 중요한 단서를 제공한다. 다원화된 현대 패션의 변화 중 하나인 남녀 통합 컬렉션 의 진행은 동시대의 미적 가치를 담아낸 특성을 가지고 있으며 이에 대한 해석은 기존의 관점에서 벗어난 해석이 요구된다. 따라서 본 연구에서는 새로운 해석을 위한 방법으로 포스트모더니즘과 모호성 이론을 도입 하였다. 연구의 대상은 런던, 파리, 밀라노 컬렉션을 대표하면서 변화를 이끌어가고 있는 버버리, 발렌시아가, 구찌의 컬렉션 중 남녀 통합 컬렉션이 진행된 2017 SS 시즌부터 2019 FW 시즌까지 한정하여 분석하였다. 이 연구에서 탈 경계, 다원성, 해체의 특성을 가지고 있는 포스트모더니즘과 다양한 해석의 가능성을 통해 창의적인 발상을 유도하는 모호성은 의미의 재구성과 확장이라는 내적 의미로 분석되었다. 포스트모더니즘 의 미적 특성과 엠슨의 모호성 이론을 바탕으로 현대 남녀 통합 컬렉션에서 나타난 변화에 대한 미적 특성을 분석한 결과 환상성과 표현 확장, 불확실성과 이질적 결합, 개별적 유희성이 도출되었다. 환상성과 표현 확장 은 이질적인 코드를 기반으로 시공간의 복합적 사용과 개인의 독특한 경험을 존중하면서 표현의 다양성을 인정하고 확장하는 미적 특성을 말한다. 불확실성과 이질적 결합은 상호 다른 요소들이 인위적으로 결합되어 만들어진 미적 특성을 말하는 것으로 다양성과 가변성을 전제로 한다. 개별적 유희성은 서로 다른 표현 의미 가 동시에 발생하면서 나타난, 의외의 결과로 생기는 의외성과 재미를 말하는 것으로 이와 관련된 개인의 취향에 대한 존중을 말한다. 이 연구는 모호성 관점으로 현대 남녀 통합 컬렉션의 미적 특성 분석함으로써 다변화된 현대 패션의 표현에 대한 대안적 탐구 방법을 제시했다는데 의의가 있다.

Fashion is an aesthetic tool to capture human desires, providing important clues to the values individuals and society are interested in and pursuing. The progress of the men's and women's integrated collections, one of the changes in diversified modern fashion, has the characteristics of capturing the aesthetic value of the contemporary era, and the interpretation of this requires an interpretation that deviates from the existing perspective. A new way of interpretation was to introduce postmodernism and ambiguity theory. The subjects of the study were analyzed in a limited way from the 2017 SS season to the 2019 FW season, particularly for the men's and women's integrated collections of Burberry, Balenciaga and Gucci, who are leading the changes while representing the London, Paris and Milan collections. The study was analyzed with the inner meaning of reconstruction and expansion of meaning, In this study, ambiguity was analyzed as the inner reconstruction and expansion of meaning, and it induces creative ideas through postmodernism and the possibility of various interpretations, which have the characteristics of post-boundary, plurality and deconstruction. Based on the aesthetic characteristics of postmodernism and Empson's theory of ambiguity, the analysis of aesthetic characteristics of the changes in the modern coalescence collection resulted in fantasy and expressive expansion, uncertainty and heterogeneity, and individual amusement. The expansion of fantasy and expression refers to the aesthetic characteristics of recognizing and expanding diversity of expression while respecting the complex use of space-time and individual's unique experiences based on heterogeneous codes. Uncertainty and heterogeneous combination refer to aesthetic properties created by artificially combined different elements, assuming diversity and variability. Individual amusement refers to the unexpectedness and fun that result from the simultaneous occurrence of different meanings of expressions. The study has significance in that it presented alternative exploration methods for expression of diversified modern fashion through analysis of aesthetic characteristics of modern men's and women's integrated collections via ambiguity.

In the 2000s, the‘ Japanese Animation ’, called Anime and ‘Otaku Culture’ have received attention in the West contemporary art world. The exhibitions as <The contemporary art and anime> , <Super Flat> that the Japanese artist, Takashi Murakami whose works originated from the traditional Japanese art such as Ukiyoe of the Edo period curated, have been spotlighted in the West contemporary art world. Ukiyoe is, especially, woodblock print of Katsushika Hokusai who, a Japanese cartoonist and woodblock prints artist, influenced artists of the impressionism and Art Nouveaux in the context of Japonisme prevailed in America and Europe one hundred years ago. Ukiyoe, with the emphasis of the‘ f l a t n e ss ’of forms and colors, has also influenced Japanese animation and manga, and many contemporary artists have begun to use the style,‘ f l a t n e ss ’of new trend ‘Tokyo-Pop’, that Murakami re-created after pop art of the 1960s. But, this interactivity of animation and contemporary art seems to be more expanded in the digital media time. The style and form of animation have deeply influenced the new generation artists using digital media as video art. experimental film etc.. Furthermore, in the context of viewing and installation methods, the interactivity of them has been expanded to the realm of the film festivals and exhibitions as Senef, Resfest, Future Cinema exhibition of ZKM center in Germany, etc.. The purpose of this study stressing on the interactivity of animation and 영상예술연구_ 5호 contemporary art lies in the future study on the interactivity of animation, video art and cinema as digital media. Also, it is expected to map new discourse about the ‘artistic’positioning of animation as the popular culture, in animation studies of Korea.

The tendency of the Minimalism in the contemporary a architecture is based on Mies van der Rohe s saying ‘나SS IS m more" as the principle of the Minimal art and its formative c composition. It can be divided into technical Minimalism p prevailed in Northern Europe and the zone of German l language, and the regional one in Southern Europe and S Southern America. The former is interested in the experiences of the techniques and materials, and the latter in that of the s space and the place through the simple forms. The minialistic approach to the architecture is nat only m methodological one. It accepts the concept and the construction of architecture as 2 axes for making it keeps the tradition and c communication with the master builder, the materials, and i염 m means to compound. The expressive characteristics of works in M Minimalism are 1) as the formal issue, it is simple, self-referring. without any symbol or any allusion, and compounds the r repetitive forms as the comceptual aspec않 of architecture, 2) it h has the characteristies such as the approach directly to the m means by which architecture made, the critical interests to the m material attributes, and the capacity to the contemporary t technology as the issue of technique and materials, 3) regarding t the space and the place, it shows the good sense to the site in t the sphere intervention of architecture 1e Maininlalism architecture has i않 impotance in the point t that it seeks to the qualities immanent in architecture by s showing the marvelous status through discovering the i immanent properties of the site, program materials, and the s structure, and also it begins new way of interpreting a architecture with new viewpoint to the its essence as well as a architecture itself.self.

Sungkyunkwan Scandal (SS) portrays the friendship of Sungkyunkwan students who dream of a new Chosun. In this paper, I closely read SS from a feminist/ queer perspective, focusing on representations of cross-dressing, masculinity, and men’s homosociality. I explore how SS imagines Chosun society and enacts a contemporary social critique through experiences and voices of a cross-dressing female who masquerades as a man. I also discuss how SS counters dominant notions of masculinity and intimacy between men. Kim Yoonshik challenges progressive men’s politics by questioning patriarchal ideology and advocating for gender equity. However, by frequently exposing her female body and femininity, SS neutralizes Yoonshik’s feminist subjectivity and visually spotlights her femaleness for her heterosexual romance. Diverse acts of cross-dressing in SS destabilize the binary gender category and disturb the dichotomy of heterosexuality and homosexuality by means of “mistaken” gender and sexuality. In particular, Yoonshik’s cross-dressing and passing foreground the constructedness of masculinity and reveal the uncertainty of masculinity in nature. The friendship of the Zalgeum 4 (Yoonshik, Sunjun, Guloh, and Yoelym) uncovers the potential continuum between homosociality and homosexuality in that they exchange critical pleasures, deep trust, and emotional care in the learning community. SS explicitly displays affectionate touching between men and draws attention to sensuality in friendship. For example, an episode about the gay-rumors revisits homosexuality and homophobia through the lens of Confucian logics. In SS, life and knowledge, self-reflection and social change, and friendship and love are connected and integrated. The friendship among the Zalgeum 4 forges an alternative way of life and creates a humane world in which justice and warmth coexist. SS invites the viewer to glance a utopian future in a fictional past.

The main objective of this research was to understand the latest trends of natural print design through the quantitative & qualitative analysis of fashion appeared in contemporary female collections. The research criteria was defined as 3 seasons from 2011 S/S to 2012 S/S. Data collection of 726 was done through review of 'pr$\hat{e}$t-$\grave{a}$-porter Collections' of three major fashion cities; Paris, Milan and NY. Statistical analysis of frequency with chi-square test was conducted. Also qualitative interpretation of natural print design' characteristics was completed. The main findings were as follows.; The average occurrence rate of natural print design from 2011SS to 2012 SS in three collections were 6.4% in Milan 6.4%, 5.5% in Paris and 6.8% in N.Y. The five source types of natural prints in contemporary women's fashion collections were identified and the order of their appearance were as follows: flowers, plants, animals, insects & marine organisms and compound one. The plant prints were expressed by stylized or realistic touch. Flower patterns showed more variables than plants, however, there were no big difference in their image and major characteristics. The animal prints demonstrated two aspects. First one used typical animal print of fur or skin, but the other one draw the animal figure like paintings. The compound source type presented the most interesting and fresh pattern design ideas. In the insects & marine organisms, mainly butterfly and seashell & starfish, etc. appeared as real shapes or sometimes were stylized.

1955년 도미한 화가 김보현은 한국 근현대미술사에 있어서 마지막 남은 추상표현주의 1세대로 미술사적으로 중요한 의미를 지니고 있는 인물이다. 그는 굴곡의 한국 최근세사 속에서 좌우 이념의 희생양이 되어 고국을 등진 후 60년 가까이 뉴욕에서 작업 활동을 하고 있다. 김보현은 한국에서 3차례나 정신적ㆍ신체적으로 고통을 겪게 되면서 한국 화단과 40년 간 단절하였다. 도미 후 그의 60여년 화업에 있어서 고국에서 받았던 트라우마는 예술의 근원으로 작용했다. 디아스포라의 전형적 삶을 살았던 김보현의 예술세계도 자연 그로부터 자유롭지 못했다. 본 연구는 이러한 디아스포라적인 김보현의 예술을 이해하기 위해 먼저 재미 한인사와 미술사를 알아본다. 미국으로 이주한 한인들은 초기에는 하와이와 로스앤젤레스를 중심으로 살았으나 1950년대 이후 미국 전역으로 확산된다. 현재 미국의 제1도시와 제2도시인 뉴욕과 로스앤젤레스에는 한인들의 40%가 집중적으로 거주하고 있는 것으로 집계된다. 김보현이 도미했던 당시 뉴욕은 현대미술의 메카로 떠오르면서, 전 세계 수많은 미술가들을 비롯해 한국 작가들도 서서히 모여들었고, 현대미술의 흐름을 주도하고 있었다. 본 논문은 김보현의 작품 속에 드러나는 디아스포라적 이미지와 특성이 무엇이며, 그의 예술이 지닌 의미와 가치에 대해 문제를 제기시켜 본다. 이러한 연구를 위해 오늘날 디아스포라 미술의 의미와 디아스포라의 정의 및 형성을 알아보고 김보현 예술을 이러한 디아스포라 관점에서 분석하고자 한다. 연구 범주는 김보현이 미국으로 이주한 1950년대 말부터 1960년대 초창기 작품을 중심으로 한다. 이때가 디아스포라적 특성이 가장 뚜렷이 드러난 시기이기 때문이다. 김보현 예술에 대한 디아스포라적 관점의 분석은 현대미술에 드러난 디아스포라적 이미지와 특징을 도출해낼 수 있는 근거가 될 것이다. 또한 글로벌 시대 디아스포라적 관점에서 한국의 정체성과 특질을 연구한 사례로 의미를 가지며, 한국근현대미술사의 한 영역으로서 재미 작가 재조명 측면에서도 일정 부분 역할을 할 것으로 기대된다.

Bo-hyun Kim, Korean-American artist, went to America in 1955. He is the last one of the first generation of Korean abstract expressionists, having significant implications for the art history. Kim was scapegoated in the long and winding modern history of Korea, and forced to leave his native country. He has been in New York for six decades. After he suffered both mental and physical pain three times in Korea, Kim had to cut himself from the Korean artist community for over four decades. The trauma he has had to endure over the past six decades has always been the source of his artistic inspiration. Kim who had to flee his native country is a classic example of 'diaspora'. This study examines the Korean-American history and the American art history first to understand his works inspired by diaspora. The Korean-American history traces back to 1903 when the SS Gaelic docked in Honolulu with around 100 Korean immigrants - who left their home country to pursue the American Dream - aboard. It has been 110 years since then, and around two million Koreans now live in the United States. Early generations of Korean Americans settled first in Hawaii and Los Angeles, and, in the 1950s, they started to spread across the country. Currently, the 40 percent of Korean Americans live in New York and Los Angeles, the two largest cities in the United States. When Bo-hyun Kim arrived at New York first, the city was rising as the mecca of contemporary American art, attracting many artists around the world including those from Korea and leading the contemporary art trend of the time. This study analyzes the images and characters of diaspora that is melted in his works, and raises questions on the implications and values of his works in art history. To do so, the implications of today's diaspora art and the definition and development of diaspora are reviewed. This study mainly focuses on Kim's early works from the late 1950s to the early 1960s. Analyzing Kim's works from the aspect of diaspora will serve as a ground to extract general images and characters of diaspora that is expressed in modern art. It will also have implications for studying the identity and characters of Korea from the same perspective in this global era, as well as for contributing to the history of modern and contemporary Korean art by discovering and shedding new light on Korean-American artists.

1980년대 한국영화의 특징이라고 할 수 있는 에로티시즘을 적극 활용한 성인영화의 범람은 에로영화라고 하는 한국적 장르의 탄생을 야기했다. 1982년 <애마부인>과 함께 최초로 등장한 에로영화는 제5공화국이 추진한 3S 정책의 부산물이기도 하지만, 1970년대와 80년대에 미국과 서유럽을 위시한 서구와 일본의 주류영화계와 비주류영화계 양편에서 대단히 성행한 성인영화 제작 붐에 부응하는 움직임이기도 했다. 따라서 에로영화는 제작과 배급, 관객 수용에 있어 한국적 관행과 외국의 영향이 매우 복잡 미묘하게 얽힌 초국가적 장르인 동시에, 기묘하게 한국적 특수성을 반영하는 장르로 발전할 수 있었다. 1980년대 중반에 매우 성행하던 에로영화의 제작이 1990년대 초반까지 미약하게 이어지다가 1990년대 중반에 이르러 완전히 수그러들고 소프트포르노라고 할 만한 에로비디오의 폭발적 제작 붐으로 이어진 점도 한국적 특이사항이라 할 만 하다. 그러나 에로영화나 에로비디오라는 용어에서의 ‘에로’가 일본에서 유래한 점, 최초의 에로영화인 <애마부인>에서 당대 일본 성인영화 관행의 몇 가지 흔적을 발견할 수 있다는 점은, 에로영화가 이웃나라이자 한 때 식민지 제국이었던 일본의 문화적 영향으로부터 결코 자유로울 수 없었다는 사실을 예증하기도 한다. 본고는 <애마부인>에서 이러한 왜색성의 흔적을 찾아 초기 한국 에로영화 형성에 있어 일본 성인영화의 역할을 밝혀보고자 한다.

The characteristic of South Korean cinema of the 1980s is the exceedingly prevalent production of theatrically distributed adult films that are called ‘ero’ films that effectively take advantage of visual ‘eroticism’ in the mainstream industry. As a quite uniquely Korean film genre, the ero film is not only a by-product of the 3Ss Policy that was implemented by the Chun Doo Hwan administration, but it was also the way in which the national film industry came to terms with the global trend of mainstream adult-filmmaking that was particularly popular in the West including the Western-European countries and the U.S. as well as in Japan. Therefore, the ero film is a transnational genre in terms of its entanglement with the foreign conventions of film production, distribution, and reception, and at the same time the very national genre in that it developed into a reflection of local particularity and quirkiness. In addition, the ero film is peculiarly Korean in that its productions, which were explosive in the mid-eighties and meekly continued in the early nineties, virtually ceased in the mid-nineties and yielded to direct-to-video productions of ‘ero video,’ a South Korean soft pornography genre. However, ero film is not completely free from the influence of Korea’s former metropole and neighbor country, Japan, inasmuch as the term ‘ero’ was originated from Japan and the very first ero film, Madame Aema show a few conventions of the contemporary Japanese adult films. The present paper attempts to find the role of the Japanese adult film in the ero film’s formulation by tracing the Japanese influence in it.