• The Journal of the Korea Contents Association
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• v.15 no.12
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• pp.97-105
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• 2015

In the history of photograph, after the development of color photographs, those with multiple colors and high definition has gradually become the mainstream works in the field of photography. In the modern society of China that has been through reform and opening up, people's minds were increasingly liberated to widely accept color photos in terms of photography. Furthermore, the broad penetration of digital photography has brought together a new trend in the field of black-and-white photography. In line with this trend, more black-and-white photographs have appeared which are different from existing ones in the film-based period. In this recognition, the study seeks to compare the black-and-white documentary photograph works of Chinese photographers and analyze the modern Chinese black-and-white photographs.

• The Journal of the Korea Contents Association
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• v.20 no.7
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• pp.368-378
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• 2020

This paper analyzed how the characteristics of 'punctum' and 'studium' in war documentary photography work on the audience through 'D-DAY' photographs taken by Robert Kappa and a U.S. army photographer. As a method of research, we conducted interviews with the audience to examine the process of expressing the punctum and studium experiences. Studies have shown that audiences feel a greater punctum experience in war documentary photographs of 'Robert Capa' than those of U.S. army photographers. Even if the same situation was taken in the same place, the audience could confirm that the photo could be a means of distortion because it did not show reality in various ways depending on the photographer who took it. This study is meaningful in that it revealed the distortion of war documentary photography and the audience's punctum experience by examining the audience's experience of war documentary photography through qualitative research.

• The Journal of the Korea Contents Association
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• v.18 no.12
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• pp.108-117
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• 2018

Xiao Quan is a leading documentary portrait photographer in China. He tried to shoot portrait photographs of celebrities in the literary and artistic world. By doing this, he represented their time period. We explored the way Xiao Quan implemented the times they lived in by analyzing their portrait photographs included in . Our research showed that Xiao Quan used images of their living environments, clothes and facial expressions and composition of portraits. Such various methods of creation are a means for the symbolic expressions of their times. This research not only finds the way Chinese documentary portraits are created but also provides an opportunity to increase the value of documentary portraits as historic documents.

• Journal of the Speleological Society of Korea
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• no.74
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• pp.33-43
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• 2006

The purpose of this study is to scientifically establish the concepts of photogeography, and to present desirable directions for the pursuit of photogeography in Korea. Photogeography is to effectively utilize the documentary and artistic nature of the photo, as an image medium, in the geographic study. The concept of photogeography, along with the term photogeology, is already known widely in foreign countries, and extensive research has been carried out in the field. However, here in Korea, nobody knows the concept of photogeography. Since photogeography has not been systemized as a science, and interest in photography is being minimal, photography, in reality, has in no way been utilized effectively. The photographs used in Photogeography can be classified, according to character, into two major categories, geographic photographs and general photographs, and, according to subject and camera, into still photographs and dynamic photographs. Photographs, such single photographs, slides, air photographs and satellite photographs are in the category of still photographs, while pictures like video and movie pictures are dynamic photographs.

• The Research Journal of the Costume Culture
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• v.11 no.5
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• pp.711-720
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• 2003

The purposes of the study were to categorize eroticism expressed in modern fashion and to find out any significant difference in erotic expressions among designer brands and fashion seasons. The research methods was a documentary analysis. The documentary materials were 180 photographs randomly selected from fashion photographs of 3 major designer brand collections, from 1995 S/S to 2000 A/W. The data were analyzed by contents analysis, frequency, crosstabs. Results were as follows; 1) The existence of erotic expressions in modern fashion was found in 107 (59.4%) out of 180 fashion photographs and the eroticism was one of the major themes in the later 1990's fashion. 2) The erotic expression in the modern fashion were categorized into 5 categories exposure, adhesion, transparency, exposure+adhesion, and adhesion+transparency. The major erotic expression was exposure which was followed by adhesion and transparency. 3) The degree of erotic expression were separated into 3 levels-strong, medium, weak. The erotic levels in the modern fashion ranged between medium and weak; medium level 43%, weak 42% and strong 15%. 4) The erotic expression and the degree of erotic expression showed differences according to three designer brands. Chanel brand used less erotic expression than Christian Dior or Givenchy. Christian Dior brand showed the tendency of strongest erotic level while the Chanel brand showed the weakest level. 5) The erotic expression and the degree of erotic expression showed differences according to fashion seasons. Spring and summer seasons used more erotic expression than autumn and winter. In spring and summer seasons, exposure and transparency were methods used more frequently for erotic expressions, while adhesion was stronger themes in autumn and winter seasons.

• Journal of the Korean Home Economics Association
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• v.23 no.4
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• pp.9-17
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• 1985

The pur[pose of this study is to investigate the research method and to provide a guide to the ways in which researcher, interested in costume history, can obtain in formation. There are comparison, induction, observation, awnalysis, experience and synthesis in method of science. Firstly, comparative research is to ascertain the accumulated evidence. Secondly, we can compare with historical phenomenon. A research intend to verify the hypothesis based upon the sources of information. It is an available method to investigate the costumes and adornments in the past. Whatever the approach, the researcher much discribe the facts objectively. Historical research has been approached in many warys in the field of costume. There are visual and documentary sources. Visual sources are paintings, sculptutre, frescoes, coins, potteries, medals, mosaics, wall paintings, stained glasses, seals, tapestries, illustrations, photographs, movies, and fashion dolls. Documentary sources are archives, letters, diaries, literature, wardrobe accounts, sumpturary laws, newspapers, and recollections.

• Journal of Korean Society of Archives and Records Management
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• v.8 no.1
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• pp.257-274
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• 2008

In this study, arrangement and description of documentary photographic records about photographer, Choi Min-Sik have been reviewed. Throughout the literature review, arrangement and description of photographic records are analyzed. The results show that the universal classification plan of administrative records is difficult to apply to photographic records. This study suggests the case of arrangement and description of photographic records a photographer produces continually.

• The Research Journal of the Costume Culture
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• v.11 no.2
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• pp.253-262
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• 2003

The purposes of the study were (1) to analysis Korean traditional wedding costumes through families's wedding photographs from 1940 to 2000, and (2) to categorize bride and groom's costumes according to the wedding time by means of a time series analysis. (3) to find out functional relationship among changes in garment types, garment details, embellishments and colors. The study was a documentary research and data were collected from 390 family wedding photographs by a convenient sampling. The data were analyzed by qualitative and quantitative method and the statistic used were frequency, content analysis, and cross-tab analysis. The results were as follows; First, the garments of wedding couples were categorized into 5 period according to garment's characteristics. 1. The period between 1940～1959 : Korean traditional wedding costumes and western style wedding costumes were existed together in Korean wedding culture. 2. The period between 1960～early 1970's western wedding costumes were dominated. 3. The period of late 1970's : wedding couple's costumes became more formal and decorative. 4. The period of 1980's : introducing see-through materials for brides and tuxedo suit for grooms. 5. The period of 1990's : extravagance in shapes and exposure. Second, there were significant relationships among brides's dress types and neckline, glove length, embellishments and transparency of materials and among groom's garment types and necktie types, types and color of shirts, vests. Third, the time series analysis of bride and groom's outfit produced 5 schematic expressions of wedding outfits according to the period.

• Journal of the Korean Society of Costume
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• v.58 no.2
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• pp.48-61
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• 2008

This study aimed to examine emo fashion, a very recent music-related fashion trend spreading fast amongst youths, and understand emo ideas and methods of expression for a greater understanding of contemporary youth sub-cultures and fashion trends. Documentary research, positive research and in-depth interviews were used throughout the study. 4 Korean emo bands and 4 U.S. emo bands were selected based on music chart rankings, and a total of 37 photographs from the bands' Internet websites were selected, and their clothes shown in the photographs were examined. 5 Korean emo band musicians were subjects of in-depth interviews, and they were asked about their emo culture, music, fashion, ideas and styles, and photographs were taken of the subjects and evaluated, too. Lastly, Korean and U.S. emo kids were studied through photographs, and comparatively analyzed. Both Korean and U.S. emo musicians wore slim silhouettes, skinny jeans, t-shirts, sneakers, black, studded belts and plastic-framed glasses. Korean fashion expressed a less depressive atmosphere with color and other details compared to the United States, and did not prefer dark black eye make-up, which United States emo style appeared to express frequently. Korean musicians' emo fashion was closer to other youth fashions, whereas U.S. emo fashion included more formal styles such as ruffled shirts and pin-striped vests. Korean emo kids wore clothes not much different from most Korean youths, but U.S. emo kids wore a lot of eye make-up and black t-shirts with graphic or skull prints, and had more geometrical hair styles, as if cut at home. The reasons for such differences were found to be a longer emo music and culture history in the United States leading to more elaborate fashion expressions and a difference in the states of mind, such as Korea pursuing to express love, and the United States pursuing loneliness.

• Journal of the Korean Home Economics Association
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• v.29 no.1
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• pp.1-12
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• 1991

The purpose of this study was to identify external form and internal symbolism of oriental dress on the 20th century western fashion. Documentary studies and objective studies were done with descriptive, inductive and content analytic methods. In documentary research, concepts about culture, dress as a cultural sub-system, the from of dress, and the gender symbolism of dress were reviewed. In objective research, oriental fashion photographs in $\ulcorner$Vogue$\lrcorner$ during 1969-1989 were selected and analyzed, for the descriptions of samples, the form of dress, the perception of waist parts, the dressing manner. The synthetic results were as followes; 1. There were the geographical and national terms such as east, Orient, China, India, Japan, and so on in the descriptions of samples; and there were the costume terms such as herem, kimono, pyjama or pajama, sarong, and so on in the descriptions of samples. 2. The from of oriental dress on the 20th century western fashion was identified with draped type. This can be interpreted that in orient, there was no desire to reveal body figure through dress, therefore, for the long time, sustaining draped type of dress has been. 3. The perception of waist part in oriental dress on the 20th century western fashion was not made. So, it can be interpreted that in orient, there was no desire to distinguish both sexes through the emphasis of waist part in dress. 4. The dressing manners of oriental dress on the 20th century western fashion were wearing of trouser and layering mainly, symbolizing the confusion of gender distinction through dress.