유형학적 풍경사진의 연구 : 길을 중심으로

최창수 중부대학교 대학원 2013 국내석사

본 논문은 2012년 4월부터 11월까지 전북지방의 정읍시 입암면 지선리, 연월리, 용교리, 김제시 부량면 만경평야, 고창읍 전불, 고창군 아산면 운곡 습지, 공음면 학원농장, 전남지방의 담양읍 죽녹원 일대에서 풍경과 함께 길을 촬영한 작품에 관한 작품론이다. 풍경을 한마디로 정의 내리기는 어렵다. 경치, 경관, 풍치 등의 의미로 사용되고 있으나 각 시대마다 자연과 대상을 바라보는 인간의 사유 방식의 변화와 사진의 메커니즘의 발달에 따라 풍경에 대한 개념도 확장되고 재정의되고 있다. 길은 태곳적부터 사람들의 필요에 의해서 어떤 곳을 왕래하는 가운데 만들어졌다. 사회가 발달함에 따라 작은 길(Road)에서 점점 더 크고 넓은 도로(Street)로 변화하고 기능도 확대되었다. 교통수단으로서의 길은 정신문화가 확대되고 심화되면서 특히, 동양 사람들이 철학적인 의미로 부여하였다. 오늘날 어디를 가든지 길을 찾아서 가고 마침내 목적지에 도달한다. 어디를 갈 때마다 늘 직면하게 되는 길이 어느 날 나에게 새로운 의미로 다가왔다. 길이 있는 시각적인 풍경에서 읽혀지는 언어적 사유는 자각의 의미로 내게는 부각되었다. 그래서 나에게 길은 탐닉의 대상이며 경외의 대상이 되었다. 작품의 제작과 연구를 하기 위하여 선행연구 및 참고문헌을 통하여 풍경사진의 변천과정과 유형학적 이론의 발생과 확산 그리고 길의 의미를 탐구하였다. 유형학이란 같은 종류와 꼴을 모아놓은 것을 말한다. 하나의 유형학은 관찰, 수집, 그리고 배치 등의 행위에 의해 모여지고 정리될 수 있다. 특히, 베허부부의 제자 중에서 토마스 스투르스(Thomas Struth)의 유형학적 풍경사진을 모색하였으며 그의 유형학적인 이론을 차용하여 풍경 속의 길(Road)을 하나의 지시체로 그것이 주는 이미지를 구체화하였다. 평범한 풍경이지만 그 이면에 내재된 혼돈의 세계에서 새로운 구조와 질서를 재현하려고 노력하였다. 그리고 본 작품논문을 통하여 유형학적 사진의 시각예술이론을 연구하고 사진작품을 해석하고 분류하였다. 그것을 바탕으로 유형학적인 독일사진의 맥과 현대사진의 흐름을 이해하여 유형학적인 풍경사진을 생활의 근거지가 되는 특정한 전북지방에 적용하였다. This thesis is a dissertation introducing photographs of roads and landscapes taken in Jiseon-ri, Yeonwol-ri, Yonggyo-ri Ipam-myeon Jeongeup-si, the Mangyeong plain in Buryang-myeon Gimje-si, Jeonbul in Gochang-eup, the Ungok wetlands in Asan-myeon, the Hakwon farm in Gongeum-myeon Gochang-gun in Jeonbuk, and Juknokwon in Damyang in Jeonnam between April and November 2012. It is difficult to define a landscape in just one word. It has various synonyms, and the meaning of it has changed and been redefined over time because of the change in the way of thinking and the development of the camera mechanism. Roads were built as people came and went from the immemorable past. As society developed, a small road became a large one and the function of it also expanded. As the spirit of culture expanded, a road, which was just a means of transportation, received a philosophical meaning especially in the East. Now, we always find a road wherever we go. One day, a road quietly came to me quietly as a new meaning. A philosophical thought read from a landscape with a road was very precious to me, like the consciousness of life. So, a road became what I indulged in and what I admire. To produce my works, I researched the development of landscape photography, the emergence and development of typology, and the origins and meanings of a road through advanced research and referencing. Typology means "a system for dividing things into different types." A typology is made by actions, such as observing, collecting, and arranging. I researched Thomas Struth’s typological landscape photography and adopted his typological theory so that I can embody the image of a road using a road in a landscape as an indicator. Although the landscapes looked common, I tried to show new structures and orders from their implicit chaos. Also, through this thesis, researching aesthetic theories on the typological photography and analysing photographs, I could understand German photography and the flow of modern photography.

허베이호 기름유출사고에 관한 언론의 보도태도 연구 : <조선일보>와 <한겨레>의 보도를 중심으로

신재경 중부대학교 대학원 2009 국내석사

본 연구는 뉴스가 현실 그 자체가 아닌 상징적으로 구성된 현실로서 우리가 세계를 이해하고 해석하는 프레임을 제공한다는 구성주의적 관점에서 접근한다. 언론사마다 지향하는 보도이념과 이를 구현하기 위한 보도정책이 다를 수 있으므로 동일한 사건에 관한 보도라고 하더라도 보도논조에는 차이가 있을 수 있다. 그리고 신문편집에서 헤드라인이나 사진은 미묘한 조작이나 의도와 더불어 이데올로기적 의미작용이 충분히 가능해질 수 있다. 동시에 신문을 읽을 때 독자의 시각이 헤드라인에서 사진으로 이동하기 때문에 사진을 분석하기 위해서는 헤드라인을 함께 분석하는 것이 당연하다. 이에 본 논문은 신문사의 이념적 차이에 따라 「허베이호 기름유출사고」라는 환경재난 보도의 현실구성에서 헤드라인과 사진은 각각 어떤 차이를 보이는지 살펴보고 이 점을 근거로 해서 포토저널리즘 상에서 논의되는 언론보도라는 현실 구성에 이념적 요인이 영향을 미치는가를 분석 하고자 하였다. 그리고 이와 같은 연구문제를 해결하기 위한 방법으로 이념적 스펙트럼에서 양 끝에 위치하는 조선일보와 한겨레를 선정했으며「허베이호 기름유출사고」가 신문에 게재된 사고 다음 날부터 1개월 동안 관련 기사의 헤드라인과 사진을 중심으로 내용분석을 실시하여 신문의 재난보도에서 재난을 구성하는 자연적 프레임과 사회적 프레임이 어떻게 나타나는지 살펴보고 언론의 보도태도를 비교 분석 하였다. 내용분석방법으로는 양적 분석(量的分析)을 실시하고, 양적 분석의 보완을 위해 질적 분석(質的分析)을 이용했다. 기사의 헤드라인과 사진에서 선택되고 강조된 의미, 즉 핵심 주제를 사용해 만든 주제구조 분석틀을 이용하여 일차적으로 헤드라인과 사진의 각 주제 유목별(類目別)로 나타나는 빈도와 크기를 수량적으로 알아보는 한편, 「허베이호 기름유출사고」에 대한 언론의 총체적인 보도태도를 평가적으로 고찰하였다. 주요 분석 결과를 살펴보면 인재(人才)였던 「허베이호 기름유출사고」에 대해 언론은 사회적 프레임 보다는 자연적 프레임에 비중을 두어 재난을 구성하고 있다. 현장진술 중심으로 피해상황이나 피해자 상황에 대해 무책임하게 선정적으로 보도하고 있으며 특히, 자원봉사자의 복구 작업을 위주로 보도하여 재난을 불가항력적인 자연재해로 틀 지우며 숙명적인 대응을 강조하고 있다. 반면, 재난을 인간의 의지에 따라 조정될 수 있는 합목적적 영역으로 파악하는 사회적 프레임과 관련 대규모 피해의 원인과 책임규명의 문제는 소홀히 다루어지고 보상책은 제대로 이슈화 되지 않고 있다. 이는 사진에서 헤드라인보다 더 두드러지게 나타났다. 신문사별로는 조선일보가 한겨레보다 더 두드러지게 나타나고 있다. 양적으로 조선일보가 현장진술 관련 헤드라인과 사진의 집중적인 게재를 보여 그 비율이 한겨레보다 높은 반면, 원인 및 책임규명 관련, 사후대책 관련, 기타에 대해서는 모두 한겨레가 그 비율이 높다. 내용적으로도 차이를 보여주고 있다. 현장진술과 관련하여 조선일보는 헤드라인에서 자원봉사자의 복구활동과 피해자동정을 비중 있게 다루며 전기에는 동정심을 유발하는 피해자의 절망적 상황을, 후기에는 자원봉사자의 복구활동으로 절망을 극복한 듯한 과장된 변화를 보였다. 반면, 한겨레는 기름유출사고의 피해상황과 피해자 동정을 비중 있게 다루면서 환경 생태적 시각을 강하게 드러내고 있다. 그리고 게재된 사진들은 대부분 광각으로 찍힌 자원봉사자들의 사진을 비롯해 상황 설명적 사진, 사실 전달에 충실한 사진들 이었다. 특히, 조선일보의 경우에는 복구활동의 성과를 지나치게 부각시킨 탓에 기록성에 바탕을 둔 보도사진의 진실성과 관련해 독자들에게 혼란을 주는 사진을 게재하는 문제점을 보이기도 했다. 사안의 주제를 집중적으로 드러내는 주제 초점사진과 관련해서는 한겨레가 몇몇 생명 우선적 시각을 드러내는 기름피해 사진과, 피해자 상황을 극명하게 드러내는 사진들에서 보여주고 있다. 원인 및 문제점에 대해서는 조선일보는 피해를 확산시킨 정부의 방제체제의 문제점을 지적하는 데 비중을 둔 반면, 사고의 재발을 막기 위한 근본적인 재난관리 차원의 사고발생 원인에 대해서는 한겨레만 적시하고 있다. 기름유출사고의 책임규명과 관련해서도 수사 및 처벌에 대해서 조선일보의 경우는 가치중립적인 단순사실을 그대로 드러내고 있으며, 한겨레는 해경의 수사결과와 관련해서 부실수사를 지적하는 것과 함께 적극적으로 헤드라인과 사진에서 가해자인 삼성의 책임을 묻고 있다. 양적으로도 내용적으로도 제대로 이슈화되지 않은 사후대책과 관련한 피해어민들의 보상문제는 다만, 조선일보의 경우 배상절차에서 피해주민들 차원의 자구책을, 한겨레는 정부차원의 보상책을 촉구하는 차이를 보이고 있으며 한겨레는 동시에 정부의 생계대책과 안전대책의 미흡함을 지적하고 있다. 그 밖에 기름유출사고 관련 기타 기사의 헤드라인에서 조선일보는 미국과 정부 수뇌부의 움직임 등을, 한겨레는 정부 관련 방제 비리나 복구현장의 방제활동과 방제기술로 인한 이차적인 환경 생태적 영향에 대해 싣고 있다. 결론적으로 본 연구는 「허베이호 기름유출사고」에 대한 포토저널리즘 상에서 논의되는 언론보도라는 현실구성에 이념적 요인이 영향을 미친다는 점을 밝히고 있다. This study is an approach from the perspective of the constructivism, which claims that news provides a frame in which we understand and interpret the world not as the reality itself but as a symbolically constructed reality. The purpose of this study is to analyze whether ideological differences among newspaper companies have influence on the construction of the reality in the press’ reports discussed in the photojournalism, by investigating how two main domestic newspapers with different ideological dispositions construct the environmental disaster, ‘the accident of oil spill from the Hebei Spirit,’ in the space and with headlines and what photographic images they used in such a disastrous situation. Thus, this study has set up the following research questions. Ⅰ Ideological differences among the newspapers have influence on the construction of the reality in the reports of the environmental disaster, ‘the accident of oil spill from the Hebei Spirit’? Ⅰ-1 What characteristics and differences do individual newspapers show in the construction of the reality in the reports of the disaster with the headlines of articles? Ⅰ-2 What characteristics and differences do individual newspapers show in the construction of the reality in the reports of the disaster with the photographs? And, in a way of solving these research questions, I have selected Chosun Ilbo and Hankyoreh, the two newspapers on the opposite extremes in the spectra of journalism, investigated how natural frames and social frames constructing the disaster in their reports of it appeared by carrying out a content analysis centered around the headlines and photos during the month after the day of the accident, and compared and analyzed their report attitudes. I have carried out a quantity analysis as a method for the content analysis, and also a quality analysis for the purpose of making up the former. Using the analytical framework of thematic structure, which was made by means of the selected and emphasized meanings in the headlines of articles and photographs, i. e. the core themes, I have primarily quantificationally examined the frequencies and sizes of the headlines and photos in accordance with the individual thematic items, and on the other hand, I have also evaluatively reviewed their whole report attitudes toward ‘the accident of oil spill from the Hebei Spirit.’ The main results from the analyses have shown that the newspapers constructed the human-generated disaster ‘the accident of oil spill from the Hebei Spirit’ more in the natural frame than in the social frame. They sensationally and irresponsibly reported the damaged conditions and victims concentrated on the site statements, and they especially stressed fatalistic actions by framing the accident as an irresistible natural disaster with focus on reporting mainly based on volunteers’ work of restoration. On the contrary, the social frame in which one may treat a disaster as a reasonable area that can be controlled by the human will, and the clarification of reasons and responsibility for the great damage were neglected, and problems of concrete governmental supports and positive compensations were not brought into issues. This was more prominently revealed in photos and headlines. As for newspapers, it was more prominently revealed by Chosun Ilbo. Whereas the proportion of the headlines and photos related to the site reporting was higher in Chosun Ilbo than in Hankyoreh as the former concentratively inserted them, the proportion of the articles dealing with the clarification of reasons and responsibilities, post-accident measures, etc. was higher in Hankyoreh. The two newspapers showed clearer differences in content. As for the site reporting, specifically addressing the volunteers’ restorative activities and the victims’ conditions in headlines, Chosun Ilbo reported the victims’ desperate conditions that could induce sympathetic feelings in earlier phases, while it showed exaggerated changes as if the despair was overcome by the volunteers’ restorative activities. On the contrary, Hankyoreh, specifically dealing with the damages and victims from the oil spill, strongly revealed its environmental ecological viewpoint. And, most of the inserted photos, including those for volunteers taken from the optical angle were explanatory and substantial for the delivery of facts. With respect to theme-focused photos that concentratively revealed the theme of the issue, Hankyoreh had some photos that revealed its viewpoint of the priority of life, and others that obviously showed the conditions of the victims. With respect to the reasons and problematic points, while Chosun Ilbo concentrated itself on the indication of the problems with the governmental system of disaster prevention that had expanded damages, only Hankyoreh pointed out the reasons of the accident in the dimension of the basic disaster management for the purpose of preventing the recurrence of the accident. Also with respect to the clarification of responsibilities for the oil spill accident, Chosun Ilbo only revealed simple value-neutral facts about the judicial investigation and punishment, Hankyoreh actively charged the offender Samsung with responsibility in headlines and photos while pointing out the Maritime Police’s poor results of the investigation. With respect to the post-accident measures that were not importantly treated relatively on the side of quantity, both of the two newspapers pointed out the insufficiency of the life and safety measures. However, at the same time, Chosun Ilbo insisted self-measures for restoration by the victims, but Hankyoreh emphasized governmental measures for compensation. In addition, in the headlines of other articles related to the oil spill accident, Chosun Ilbo presented America’s and the Korean government’s actions, and Hankyoreh the secondary environmental ecological effects due to misconducts in the control, the control activities at the site, or the control techniques. In conclusion, this study has shown that ideological factors have influence on the construction of the reality in the press’ report discussed in the photojournalism about ‘the accident of oil spill from the Hebei Spirit.

현대 패션사진에서 나타난 에로티시즘에 관한 연구 : 나르시시즘을 중심으로

이미현 경일대학교 대학원 2009 국내석사

이해를 위한 자료 제시한 다음 A 유형의 사진이 나르시시즘적인 에로티시즘이라는 것을 인지한 후,본 연구에서 실시한 설문을 바탕으로 나르시시즘을 통한 현대 에로틱 패션사진의 실증분석결과를 살펴보면, · 자기애적인 성향이‘매우 그렇다’에 가까울수록 A유형(나르시시즘적인 에로티시즘)에 인지도 및 호감도가 비례하였다· · 두 가지 유형 중 에로티시즘의 주의력을 끄는 것은 A유형(나르시시즘적인 에로티시즘)보다,B유형(섹슈얼적인 패션사진)에 주의력이 집중되었다· · 두 가지 유형 중 에로티시즘의 흥미를 끄는 것은 A유형(나르시시즘적인 에로티시즘)보다,B 유형(섹슈얼적인 패션사진)이 더 클 것이라고 가설 하였으나,전문가 집단은 A유형과 B유형의 큰 흥미 차이는 없었고 비전문가 집단에서 확연한 차이를 보여 주었는데 B유형이 크게 높았다· · 두 가지 유형 중 에로티시즘의 감성적 자극은 B유형(섹슈얼적인 패션사진)보다,A유형(나르시시즘적인 에로티시즘)이 훨씬 우세하여 확실한 차이를 보여주었다· · 유형별 시각적 반응은 B유형이 높은 것으로 큰 차이를 보여 주었고, 전문가 집단과 비전문가 집단의 비교에 있어서 큰 차이는 없었다· · 유형별 기억의 차이는 A유형(나르시시즘적인 에로티시즘)이 B유형(섹슈얼적인 패션사진)과는 큰 차이를 보였고,A유형(나르시시즘적인 에로티시즘)이 기억에 오래 남는 것으로 나타났다· · 두 가지 유형 중 구매 욕구는 A유형(나르시시즘적인 에로티시즘)이 B유형(섹슈얼적인 패션사진)보다 효과적으로 나타났다· · A유형(나르시시즘적인 에로티시즘)이 B유형(섹슈얼적인 패션사진)보다 더 심미적이고 작품성이 있다고 인지하였다· This thesis aims to investigate by comparative analysis how large a recognition and change in standard the narcissistic characteristics and expressing methods have in modern society when it is covertly shown in erotic photos that can incite fashion photograph psyche among modern men. Since regarding fashion advertisement through narcissism, there is no proven research data based on statistic values, the researcher conducted an empirical inquiry via questionnaire to objectify the consumer responses. The following is the result of empirical analysis on modern erotic fashion photograph via narcissism based on the questionnaire conducted in this research. -The more positive answer to narcissistic inclination, their royalty and liking to Type A (narcissistic eroticism) increased proportionately. -Erotic attention concentrated more on Type B (sexual fashion photograph) than on Type A (narcissistic eroticism). -Despite our hypothesis that Type B draws more erotic interest, there was no big difference shown in interest between Type A and B in specialist group, but clear difference in non-specialist group, being much higher for Type B. -Emotional stimuli by eroticism showed clear difference, much more dominant for Type A than Type B. -Visual response was higher for Type B by a big margin, but with no big difference between specialist and non-specialist group. -Type A proved to be more lasting in memory than Type B, with a big margin. -Purchasing desire appeared more effective for Type A than Type B. -Type A earned more recognition in aesthetics and quality than Type B. Erotic narcissism that can augment eroticism by learning sexual images by heart and head as to the role of sensual and implicit eroticism, escaping visual satisfaction, allows the consumer to personally dive into an advertisement overlapping him with the CF model in it and to have it imbedded in his memory, ending up creating purchasing effect. As regards erotic fashion photograph, narcissism should be used to arouse customer’s more interest and expectations by furthering in-depth and sensual eroticism and empathizing with the fashion image shown in the advertisement. By inducing narcissistic eroticism, fashion photograph should be further developed into a new genre for appealing more to emotion than to sight, by making the customer dash into an advertisement, rather than remaining in a simple visual satisfaction with sensual fashion photograph. In this respect, it is considered necessary to approach the eroticism reflected on narcissism with an interest in expressions in an aesthetic form of human instinct, rather than by morals or conscience of existing sensual behavior mode, escaping the distorted prejudice of its angle being ugly or immoral. Also, viewpoints in many expression types of eroticism, not limited to narcissistic fashion photograph, should be leveled off to be used for developing fashion photograph.

Alfred Stieglitz 사진작품의 표현기법에 관한 고찰

강택수 중부대학교 인문산업대학원 2004 국내석사

Photography hasn't always been considered an art. In early days, photographs were considered an advance of science, not art. Camera were machines, and everyone knew that machines didn't make art; people made art. From the invention of a primitive camera to the photography with the modernest technique, it is most valuable to study Stieglitz's life and his photographic world in the historical development of an artistic photograph. Stieglitz and other Pictorialists understood that a photograph was created when the camera was used as a tool, like a paint brush was a tool. And they tried to show that they were a part of the art tradition by manipulating their photos in the darkroom, using tricks and techniques that were evidence of the human hand in the process. Stieglitz was very involved in the modern art scene and had closely followed the Impressionist movement in Europe. Impressionists were some of the first artists to look to the city as a worthy subject for their paintings, and it was a new city they looked at. Machines and all things modern in the city were desirable subjects. Similarly, Alfred Stieglitz represented these modern scenes in stop-motion glimpses, with plenty of atmosphere. and Stieglitz would embrace the city as his subject, too, but he would use photography as his medium. He was also interested in the technical boundaries of photography. Photographer Alfred Stieglitz subscribed to a theory that the principal subject of a photo should be in sharp focus while secondary elements should be left out of focus. The theory was called "naturalism" because it was thought that these types of photographs most closely resembled the way the human eye naturally sees things, focusing on one area while surrounding details fall away. His passionate efforts for the American photographic world in those days resulted in unfolding the photographic movement several times. Especially, the success of 'Phot-Secession' played a great important role in promoting the American pictorial photograph to the highest level in the world in a short time. He first introduced European modernism to America through '291' Gallery' and a quarterly magazine- 'Camera Work', and this gave a great stimulus into the American art world. Also, he provided American young artists with some opportunity to open exhibitions and supported them both physically and mentally. That gave them pride to participate in artistic activity on an international scale, equally with their contemporary European artists. Alfred Stieglitz unfolded the movement of photo art and developed the American photograph. He recognized that the substance of photo art laid on pursuing reality, so he tried to understand the subject with an objectivity. Also, his later works such as 'Close-up' and 'Equivalents'- cloud photographs show his changed view on photography and arts. Equivalents, representing his late works, are a series of cloud photograph. He explained his interior experience and feeling not only with an exact depiction but also symbolically by cloud. At last, he developed former realism well and expressed his feelings by endowing the object with symbolism. Those photographic world of his expand the possibility of 'Snap Shot' 'the Straight Photography' 'Equivalent'- keeping subjective as well as objective view on objects. Paul Strand, Edward Weston and F-64 group succeed his spirits as the most outstanding veins in American photography and his works greatly influence even the modern photographer.

식별사진 통합관리시스템 연구

김명관 경일대학교 대학원 2021 국내박사

에디토리얼패션사진의 특징과 표현유형에 관한 연구

고영학 경일대학교 디자인대학원 2009 국내석사

문화예술교육으로서의 사진교육 프로그램 개발 : 초등학교 4, 5, 6학년 중심으로

이승자 중부대학교 대학원 2013 국내석사

21세기가 요구하는 지식은 창의적 사고와 상상력을 통해 얻을 수 있다. 상상력과 창의성 교육은 자유를 본질로 하는 문화예술교육에서 그 중요성이 꾸준히 제기되었다. 하지만 문화예술교육으로서 사진교육이 학교교육에서 시행된 지 3년이 지난 현재 시점까지 사진교육에 대한 이론적 근거나 학문적 체계가 불분명한 상태이다. 또한 교육과정의 체계도 확정되지 않았고, 교육프로그램이나 교재 등의 교육여건도 마련되지 못한 실정이다. 따라서 현장에서 학습자의 발달단계에 따라 적용할 수 있는 단계적 교재나 프로그램 연구가 절실히 요구된다. 본 연구는 문화예술교육으로서 초등학교 4, 5, 6학년을 대상으로 한 사진교육 프로그램 개발을 목적으로 다음과 같은 연구를 하였다. Ⅱ장에서는 문화예술교육으로서의 사진교육에 대한 이해를 돕고자 문헌 연구 및 자료 조사를 통하여 문화예술교육의 개념 정의와 중요성, 학교문화예술교육의 현황을 살펴보았고, 문화예술교육으로서의 국내 사진 교육 사례를 살펴보았다. Ⅲ장에서는 국내개발모형「초등사진교재 교사지침서」와「방과 후 학교 문화예술교육프로그램-영상매체활용교육」을 비교 평가해 보았고, 해외개발모형으로 오하이오주 예술교육 표준을 선행연구로 검토하였다. 또한, 한국문화예술교육진흥원이 개발한「문화예술교육 교육표준 개발 연구-사진」을 분석하여 본 연구의 근거자료로 활용하였다. Ⅳ장에서는 「문화예술교육 교육표준 개발 연구-사진」에서 제시하는 교육목표, 활동영역, 기대수준에 근거하여 초등학교 4, 5, 6학년을 대상으로 하는 프로그램 개발을 통하여 실질적이고 효과적인 교수-학습 지도방안을 제시하였다. Ⅴ장에서는 본 연구의 프로그램을 실제 적용하여 생산된 수업 결과물을 제시하고 창의적이고 상상력 넘치는 사진 표현 활동으로 연계할 수 있도록 하였다. 본 연구의 가장 큰 의의는 자료가 절대적으로 부족한 사진교육 현장에서 실제적으로 도움이 될 수 있는 기본적인 사진교육프로그램을 개발한 것이다. 본 연구에서 개발한 프로그램은 초등학교 4, 5, 6학년이라면 큰 어려움 없이 수행할 수 있는 내용이며 학교현장에서의 적용 가능성이 큰 만큼 적극적으로 활용되기를 기대하며, 교육적 효과를 검증 할 수 있는 후속 연구도 있기를 바란다.

중국 연변 광고사진 교육에 관한 연구

성광호 경일대학교 대학원 2004 국내석사

China goes into a period of sustained and rapid economic growth from the 80's. This brings a great opportunity to the development of advertising photography in China. The advertisement market in China and photography education has made much progress since 90's. This thesis draws a comparison between the photography-education in China with that in Korea. Also, it studies and predicts the direction of the advertising photography's development in YanBian. Korea has own photography education system since 40 years before and becomes high level and on the cutting edge in the world. Yanbian's location and society status do good for borrowing the experience of Korean advertising photography to find a solution for the education of advertising photography in Yanbian. This article has three parts: 1st part: Talk about chinese advertisement photography's development and analyze the situation about the education of chinese advertisement photography education according to the investigation in high schools. At the end of this part, we introduce the advertisement photography environment of YanBian Area. Advertisement photography has been in China for a long time, but ten years tempest makes chinese advertisement photography return to grow until 90's. This brings many opportunities and big challenge to chinese advertisement photography education. YanBian area's advertisement photography education needs to adjust it's education system immediately. 2nd part: Summarize YanBian area's econom ic situation, advertisement photography education and reasons which cause current photography education circumstance come into being. YanBian is located in Northeast of China, and is near South Korea and North Korea. YanBian's economy is mainly made up of resources type industry. Since YanBian area's economy is not very good, it hasn't good environment to develop the advertisement photography, We need to update our education's idea, confirm our education's direction and find a suitable system for developing the advertisement photography education to make YanBian area's advertisement photography grow. 3rd part: This is the most important part of the whole article. Discuss the reform of YanBian area's advertisement photography education and predict YanBian area's advertisement photography education development. At last, we analyze South Korea's successful education system and compare it with local education system to find a suitable roadmap for YanBian area's advertisement photography education development. Translation: China's economy has been booming after the opening reform. The reform has also brought many new opportunities for Commercial photography in China. Since the 90's, China's advertisement market and photography education have developed fast. The article is about the comparison between China's and South Korea's photography education. It also discusses predictions and research of commercial photography education development in Yanbian area. South Korea has had its own photography education system for 40 years, and has become one of the best in the world after perfecting and developing the education system during this time. Making full use of the location advantage and the unique social situation of Yanbian, using South Korea's commercial photography educational system's success, we can develop a reform plan for YanBian.

지방자치단체의 사진기록물 관리에 대한 연구

박은경 경일대학교일반대학원 2020 국내석사

This research paper suggests a model for the management of photographic records to local administrations with recognition of the need in ‘management and conservation of photographic records upon their production’. During this research, the current status of production and management of photographic records by local administrations was examined, and at the same time, the forms of photographic records made available to unspecified individuals through the archives of press release materials and photos on the websites of 246 local administrations nationwide were analyzed. Among 246 local administrations across the nation, most municipalities - 227 of them - were found to provide press release materials on their websites. A total of 168 local administrations provided photos as attachment or inserted image within the attachment, allowing the public to freely download them. 50 local administrations were operating their own database for photographic records, and 27 local administrations among 44 which were found relevant for the research allowed the download of original photos. There was 1 local municipality which did not announce the copyright notice for the use of photographic records, and the criteria of applied copyrights varied - ranging from Type 1 to Type 4 in terms of KOGL (Korea Open Government License). The photo databases were classified by various criteria: date taken, themes with topics that the administrative departments or local administrations were promoting. Some local administrations aimed for user convenience by supporting hash tag or keywords search. As the classification based on specific themes can be subjective, most of the local administrations applied more than one type of classification criteria: categorization by date along with the theme, or categorization by administrative departments for an intuitive search. Among photo databases of 44 local administrations, 3 of them did not apply any classification system. A closer look into metadata of photos provided on photo databases revealed that most of the information consists of title, date taken, photographer, location, and caption. In some cases, original photo information, related departments, classification system and EXIF data were also provided. However, in most cases of downloaded originals, information of only the date taken and photographers remained. When local administrations provide original photos for press release materials and photo gallery on a website, it raises concerns regarding copyrights and portrait rights. Furthermore, the original intentions and purposes of the photos may not be maintained in the process of utilization of the photos. Given that numerous photos are produced in all related fields, a systematic management of photos and an applicable model should be established. In this regard, this research paper proposes the management of photographic records by each project by reflecting the characteristics of the photos produced in the process of planning, implementation and completion. A directory is established per each project level, and the directory is again divided into a document and a photo directory. The status of each project at any level can be recognized easily by following a unified rule on setting a folder name and the location of a directory. The photo folder consists of 4 sub-folders that are classified according to the importance of photographic records, and folders with low importance level are deleted after a certain period. The metadata elements were extracted from the photo databases operated by local administrations and were compared with the criteria for metadata records of the National Archive of Korea. Common elements were extracted by comparing the EXIF and IPCT metadata elements together. The extracted metadata is designed to be managed on a personal computer or to be applied across the board when uploading the photo on the database. The operation of photo databases was assigned to the department in charge of photo production so that the photographers are able to monitor the entire management process of photographic records including the use thereof. Necessary functions and services of the database management were prepared by separating the administrative functions and the service for use of photographic records. This research paper focused on working out an action plan with which the management of photographic records can be done at the individual level, in respect of the work done by local administrations In order for this model to be applicable, the awareness that photographic records should be managed from the moment of their production should be raised first. Furthermore, for a speedy application of the management model designed in this paper to local administrations, specific application cases should be discovered for the improvement of the model.

패션 사진의 시대적 추이에 따른 경향과 표현에 관한 연구

홍주표 慶一大學校 産業大學院 1999 국내석사

The main objective of this study is to analyze the tendency and expression of fashion photograpy around the change of the times systematically, centering around fashion photographer since 1892. In order to accomplish the purpose of this study, following 3 issues(6 items) are divided : I . the beginning and development of fashion photography, 1. the early fashion photography(1892-1920s), 2. the development and realism of fashion photography(l930-1940s). II . the development and advance of contemporary fashion photography, 3. the domain extension of fashion photography(l950s), 4. the new style era(l96Os). Ⅲ. New Image of fashion photography, 5. the introduction of eroticism and the raise of life-style(1970s), 6. the coexistence era of a various style(1980-1990s). The base on this division is a famous photographer and fashion photography's tendency and expression. The development of fashion photography moves with that of the twentieth century. Fashion is a signal and a symbol of class, of education, of taste, of imagination, and sometimes of daring and revolt. It is a visual exhibition of the character of the wearer - and the evolution of clothes from status symbol to personal statement is the measure of woman's growth as a person. That is, fashion photography are documents about fashion. Looking back at fashion photography we see that the world in which women have moved, worked, socialized, and become increasingly liberated, is chronicled - although sometimes inadvertently - almost as assiduously as fashion itself. Through fashion photography we collect a unique and valuable record of the society of the time, its moods and its manners, and can perceive the current cultural preoccupations - artistic influences, theatrical styles, social trends, the changing styles of salon and news photography. A real social change has been recorded in fashion photographs. Throughout its history, ever since its birth as the first illustrated fashion magazine in 1892, Vogue, Harper's Bazaar, and Elle have tried to present the most attractive, elegant, and seductive vision of women. These early fashion phtographs imitated portrait painting. The authority and the dignity of the wearer and the quality and style of the his or her garments were a message of class difference. The stillness of the pose, the haughtiness of the attitude, and the splendor of the clothes created a distance between the image and the spectator. As a conclusion, the study shows that fashion photography keeps abreast with the times, so fashion photography variously developments around a historical, technical, cultural, and social situation. The major results of this study were as follows : 1. Edward Steichen, Baron George Hoyningen-Huene, and Horst P. Horst were influenced by straight photography of Alfred Stieglitz in the 1920s. So They took fashion photography in combination with reality. 2. The Wall Street crash of 1929 and the ensuing Depression affected life and mostly art genre. So Man Ray, Cecil Beaton, and Andre Durst were effected by such a gloomy surrealism tendency in the 1930s. The development of the small, hand held camera made active outdoor shots both feasible and fashionable in the 1930s. Martin Munkacsi took fashion photography into the natural world, and Horst P. Horst created a dramatic atmosphere and subject's detail. After World War II, John Rawlings, Frances McLaughlin, and Louise Dahl-Wolfe took a cheerful, vivid fashion image escaping from a gloomy atmosphere. 3. The 1950s and 1960s were a time of new beginnings, of recovery and discovery. Contemporary fashion photography developmented around Irving Perm and Richard Avedon. A fashion photography of great originality developmental new fashion image looked like a daring angle, experimental lighting and snapshoot. Besides Bob Richardson took erotic image but it was impossible to accept erotic image at that times because of understanding shortage of sex. 4. Eroticism's fashion photography kept abreast of the situation of the times as a sex opening and freedom. Guy Bourdin, Helmut Newton, Deborah Turbeville, Chris von Wangenheim, and Sarah Moon took eroticism image into homosexuality, voyeurism etc. But Arthur Elgort, Patrick Demarchelier, Uli rose, Francois Lamy, and Mike Reinhardt developmented life-style tendency contrary to the eroticism artificial image. 5. The 1980s and the present brought a more various style and post-modernism altogether. Because most of the people were ready to accept man's eroticism. Bruce Weber, Robert Mapplethorpe, and Herb Ritts in the 1980s expressed man's eroticism different in the early eroticism. A creative fashion photographer like Paolo Roversi, Nick Night took artistic fashion image introducing fine art to fashion photography.