산업사진을 응용한 사진표현 연구 : 주사전현을 중심으로

이현호 慶星大學校 産業大學院 1996 국내석사

본 논문에서는 사진의 특수성과 전문성을 극대화 시킬수 있는 분야중에서 특히 주사전자현미경의 전반적인 연구에 의미를 부여하였다. 각종 특수사진의 접근및 작품성과 예술성으로 시각적인 응용을 뒷받침할 수 있는 사진표현에 대한 이해를 돕기위하여 장비를 소개하였고, 장비의 접목기술을 연구하였다. 또한 예술적측면에서 고찰, 특수활영과 특수사진의 이해를 도모하였다. 이러한 사진이 사회에 미치는 영향, 개발되어야 할 부분에 대하여 각각 조사하였다. 그 결과 주사전자현미경은 사진학에서는 가속전압을 10kV~15kV로 2차전자에서 촬영하는것이 이상적이었으며, 배율은 30~1,500배가 적당하였다. 사진촬영은 사진을 전공한 이들이 자연과학을 이해하고 접목한다면 모든 과학사진이나 산업분야의 사진이 필요한 모든 이용자가 더 나은 결과를 얻을수 있을뿐만 아니라 시각적효과가 큰 영상사진으로 더 할수 없는 즐거움을 줄수 있는 사진이 될것이다. 사진을 예술적으로 형상화하는 것은 사진문화 발전에 나아가 과학이나 산업분야에서 밑받침이 된다는 생각에서 의미를 새롭게 부여하였고 사진의 완성과 학문적 초석을 다지는 또 하나의 현대 사진표현의 계기가 되는 것이다. 또한 이러한 산업사진이 차지하는 위치가 날로 중요하게 인식되어 주사전자현미경사진을 예술적으로 형상화하는 작업이 강한 호소력을 줄수 있어 앞으로 사진사의 발자취에서 중요하게 다루어질 필요성을 느끼는 바이다. This study puts entirely emphasis on SEM(Scanning Electron Microscope) among the fields which can maximize both special and exclusive features of photograph. The equipments were introduced to help understand the photographic expression available to support the visual application with artistic and working values, and approach to a variety of special photographs, and so the study was carried out on the technologies needed to apply these equipments. In addition, this study tried to contribute to understanding the special shooting and photograph with respect to art. In particulra, this study was conducted by individually examining both effects of photographs on society and needs for its development in the future. The result of this study is summarized as follows. It was shown that it is ideal to do the shooting of SEM in photography under the condition of 10-15kV prove voltage in the 2nd electron and with 30-1,500 magnifications. If the photographers specializing in photography understand natural science and therefore connect photography to the natural science during shooting, it shall be apparent that the better scientific and industrial photographs are available for all their end users while the image photographs with great visual effects contribute to more pleasures. It is considered that this study is more important and meaningful because shaping photograph in art can play an basic role in the development of photography and culture, as well as science and industry and so can beceme an opportunity to express the modern photograph. Moreover, this industrial photograph has been continuously considered as important so that it is possible to achieve the stronger appeal of works which shape artistically phothgraphs by means of the SEM. It is needed, therefore, to consider the their artistic shape as an important factor in the history of photography.

廣告寫眞에 나타난 에로틱 表現에 關한 硏究

노덕성 慶星大學校 産業大學院 1995 국내석사

It seems that an advertisement has been carried out for a long time since human beings understood their methods for communication. Moreover, such direct and real tools as letters, illustrations and photographes has been combined with advertisement so that its qualitative development and quantative increase have been repeated. Today several methods for expression are introduced into photographes for an advertisement, and intensive advertising wars are promoted in daily life to attract the sight of the general public. The modern industrial society has resulted in improvement of material life with rapid growth of productivity, pleasure culture and indecent sex. With appearance of feminism, liberation and open of sex, the original meaning of eroticism as an expression of human beings' true sexual instinct has been distorted. As a result, the wrong eroticism has been abusive and overused so that the physical pleasure is remarkably appearing. In particular, this phenomenon is remarkably appearing in an advertisement where the degree of affection expression is gradually intensified. In general, there has increased such advertisement as appealing sex to attract only the sight of consumers by introducing a completely naked or seriously exposed female model for advertising. This tendency has been recently pointed out as social evils beyond the fashion degree. Korean people usually answered that it is ashamed to see these advertisement with other persons because their contents are too sultry. As the result of investigation with 1200 males and females, it was shown that "Often" accounted for 56.9%, and "Frequently" for 132 when investigating that they feel shame and awkwardness at too sultry advertisement. Moreover, several social organizations have seriously criticized these sultry advertisements. As stated, the abuse and misuse of sex appeal is now strongly criticized. However, advertisements are an essential information about life so that it is required to avoid too seriously controlling these advertisements with respect to the freedom of information circulation. Rather, the public communication agencies or advertisement owners must avoid too sultry, excessively naked or vulgar advertisement. If these advertisements with sexual expression are properly used, they can be enough to obtain their successful results. Sex is not a taboo so that it can not be desirable to morally or ethically restrict these sexual advertisements although excessive attachment to these sexual advertisements includes a problem. Sex must be considered as only a sexual image in advertisement. When it is expressed as highly improved eroticism for advertisements, these advertisements can be persuasively acceptable by their subjects. Eroticism expression in these advertisement must be used as the methods for expressing the good and sound living with affection, based on the fact that they are one of the cultural results in the modern society. in addition, it is desirable to express these advertisements suitable for the actual condition of our life customs or values, which are based on the original nature of human beings.

'문화대혁명(文化大革命)을 중심으로 본 중국 現代(當代)사진의 흐름에 관한 考察'

조성일 (趙成一) 弘益大學校 産業美術大學院 2005 국내석사

中国带来的巨大的变化已经渗透到我们的日常生活,改变了政治、经济和生活方式。世界最大的零售企业美国沃尔玛销售的大部分商品都是中国生产的。不仅如此,据统计中国和印度已经夺取了韩国的纺织品市场。 中国不限于制造业还热衷于成为高科技产业强国。仅在2004年中国对跨国公司的投资和进入中国市场采取了宽容的态度,但到2005年中国却改变态度,对外资也要挑选。这意味着,相当大的外资已经流入到中国。中国已席卷了全球制造业市场。在此情况下,中国不满足于世界工厂。也就是说,只带钱去中国,有可能被拒之门外。具有资本、设备和尖端技术才能进入中国市场。 如今与过去迥然不同的中国盯住了世界的主导权。中国一边维持与美国竞争关系,一边以传统的、有体系的外交方式为基础加强与印度、欧洲、俄罗斯和东南亚国家善邻友好关系。 有人认为近年来冷战以后号称世界警察国家和新帝国主义先锋的美国的地位不如中国。中国和北韩是在把过去理念战争的产物共产主义体制维持到现在的国家之中最为代表的例子,其中中国在理念战争中能够生存下来的同时,在向新经济体制即资本主义转移的方式上也既快又有体系地步入先进资本主义社会。 中国不但在经济上,而且在政治上也已经拥有世界级的力量。中国总理温家宝的一句话给中国和亚洲经济乃至美国的股市带来影响。这一点就证明了中国已经成为亚洲的霸主,也成为能够牵制超级大强国美国的国家。所谓的格林斯潘效应与中国的温家宝效应几乎相差无几。 我们一直认为中国是孔子的国家、孟子的国家、孙悟空的国家和三国演义的国家,但真的如此吗? 我们应该怎么了解而接受中国呢? 我国和中国一衣带水,拥有相同的文化背景,也有历史矛盾,因此我国对中国又爱又恨。然而正确认识中国、中国人和中国近代史的人并不多。在悠久的历史背景下韩中之间的政治、哲学及道德方面的紧密联系通过许多资料和教育继续研究而继承下来。但我们却对接近到我们眼前的新世代的中国和中国人并不了解。 中国现代史以血拉开了序幕。从1966年到1976年的10年间以毛泽东主导的极左社会主义运动‘文化大革命’席卷了中国。在与外界隔绝的情况下进行的文革完全消灭了我们熟悉的过去中国,而且培育出新的中国人。孔子的中国再也不存在,文化的中心国家中国再也不尊重文化。在文革期间,许多知识分子在革命的旗帜下失去了生命。一些知识分子虽然避免了死亡,但沦为劳动者的身份过了悲惨的生活。这一时代的过去清算工作文革是仿佛秦始皇帝的焚书坑儒的消灭历史的工作,中国以文化大革命这一血川与过去彻底隔绝了。 在短暂的时间内,中国现代史告别了持续已久的古代模式,完成了现代转型。本论文所考察的对象,是在这短暂的历史阶段中所出现的摄影形式。在具体研究中,我们探访了中国摄影家协会、中央美术学院(中国美术学院)及相关学校。同时,由于理解中国摄影界需要获悉当时的思想与体制,本文解析了对中国文化各个方面产生深远影响的文化大革命这一历史背景,说明了毛泽东思想对中国文化各方面的影响。 本论文通过采访中国摄影家协会的顾立群先生,考察了20世纪初在中国开始的摄影热。接着,以中国摄影家李振盛在文化大革命时期的作品为重点,考察了中国社会的变化。最后,为便于读者了解文化大革命之后的中国摄影界,我们采访了南京视觉艺术学院院长周宁、作家王小慧和中国摄影家协会的一些会员,提供并梳理了相关的史料。 The wavelength, from the big change of China, has penetrated our life in politics, economics, and the change of life pattern. All of the goods in Wal-mart, the biggest distribution enterprise in the world, as made in China and statistics say that those are already made in roads into Korean textile market. China has a craze for being Mecca in not only the manufacturing industry but also the high-tech industry. China was liberal to the investment and advance of the global companies in 2004, started to attract foreign capital optionally. This is interpreted as their will that they live peacefully as a "Global factory" no longer in the present condition. The plenty of capital already have been flowed and they have swept over the market of the World. Although they bring in loads of money, now one will not accept it. No one can step in China without the capital, facility and high-technology as in the past. China is aiming at taking the leadership of the World unlike the past times. Besides, they are in keen competition to America while they are strengthening the good-neighborhood foreign policy to India, Europe, Russia, and the nations of Southeast Asia, based on their traditional and systematic diplomacy. After the Cold-war times, there is a view that America is behind China in the role as the police state of the World and the van of the new imperialism. Besides, China and North Korea have come under the category of nations that have kept the communism system of the past ideology war. China of those has stepped in the advanced capitalism and was successful with the revolution to the capitalism that they made the new-coined word, "The Chinese Capitalism". China already has the global power not only in economics but also in politics. Now China have grown up as the leader of Asia as well as the restraining power against USA, the global super power country, considering the influence of the Wen Jiabao's word to the Asian economics as well as china, further to the stock market of USA. The Wen Jiabao's effect today is not different from the Greenspan's effect in the past, although there is distinction of a nuance. But it is ever that China, the country of Confucius, Mencius, Songgoku and Romance of the Three Kingdoms, which we have thought. How should we understand and accept China. We have the particular love-hate to China in the field of the geographical boundary, history and traditional culture, compared with other countries. On the other hand, there are few people who understand them well and their modern history. Although the Korean-China relationship, in the field of politics, philosophy, ethical inside the eternal history, is studied and inherited through plenty of historical materials and education, we do not understand well about China and Chinese as a generation in front of our nose. Actually the modern history of China was dyed in blood. "The great cultural revolution", the Socialism movement leaded by "Mao Zedong" in the decade of 1967~1976 as China is severed with the World, perfectly destroyed China that we have known, and created the new China. China centered on Confucius does not exist, and China had been the main country of culture, which does not have a regard for culture any longer. In these days, many intellectuals lost their life under the flag of the revolution and other intellectuals who escaped death was degraded to the laboring class and died in misery. The liquidation done at that times the extinction work against the history reminding of "fenshu kengru" indulged by 'Chin Shi Huang Di, burning books on the Chinese classics and burying Confucian scholars alive, and China was broken off with their past through the blood-brook. The theme and the considering subject of this thesis is how a photograph exists in Chinese comtemporary history, broken off with their past thoroughly within a very short time. From the study, we searched out the Chinese Photographer Society and Chinese art institutes and schools. Also we laid out Maoism and its influence on over the length and breath of culture to understand the Great Proletarian Cultural Revolution. To understand Chinese photograph field, it is essential to know the thought and the system of that time. This thesis have been studied on the strong wind started to wind in the early 20c through the interview with Gu Ryu Chin, the photograph chief of the Chinese photographer association, and has lit up the "The great cultural revolution", influenced largely over the field of the Chinese culture-art as well as the Chinese photograph history centering around the pictures of Li Zhen Sheng, the photographer at that time. Finally this thesis have investigated to help to understand the Chinese photograph community after "The great cultural revolution" through the records and interview with Zhu Ning in the university of visual art, the artist Xiao Hui Wang and the Chinese photographers association. 중국의 거대한 변화가 몰고 온 파장은 정치와 경제 그리고 생활패턴의 변화에까지 우리의 일상에 깊숙이 파고들었다. 미국이 나은 세계 최대의 유통업체인 월마트(Wall-Mart)에 쌓여 있는 소비품 및 공산품의 대부분이 중국산이고, 이미 지난해에는 한국의 섬유시장을 중국과 인도에 빼앗겼다는 통계까지 나오게 되었다. 중국은 비단 제조업에 국한하지 않고, 첨단기술 산업의 메카로서의 자리매김에도 열을 올리고 있다. 불과 2004년 까지만 하더라도 세계적인 기업들의 투자와 진출에 관대하였던 중국이 2005년에 들어서서는 선택적인 투자유치를 하기 시작했다. 이미 상당한 자본이 유입되었고, 세계 제조업시장의 대부분을 석권한 상태에서 더 이상 ‘세계의 공장’으로서 안주하지 않겠다는 의지라고 볼 수 있다. 이제는 돈을 싸들고 가도 더 이상 아무나 받아들이지 않겠다는 것이다. 자본과 시설 그리고 첨단기술을 가지지 않고서는 과거처럼 아무나 중국에 발을 디딜 수 없게 된 것이다. 중국은 이제 과거와는 전혀 달라진 모습으로 세계의 주도권을 노리고 있다. 미국과 팽팽한 접전을 벌이는 한편, 전통적이고 체계적인 외교술을 바탕으로 인도와 유럽 그리고 러시아와 동남아 각지와 선린외교를 강화하고 있는 것이다. 냉전이후 세계의 경찰국가, 신제국주의의 선봉으로서의 미국의 입지가 최근 들어서는 중국보다 한 수 뒤쳐진다는 의견도 나오고 있다. 과거 이데올로기 전쟁에서의 공산주의 체제유지를 현재까지 고수하고 있는 국가로는 단연 중국과 북한을 들 수 있는데, 그 중 중국은 이데올로기 전쟁에서의 생존과 더불어 신경제체제 즉, 자본주의로의 선회방식에 있어서도 ‘중국식 자본주의’라는 신조어를 탄생시킬 정도로 긴박하고도 체계적으로 선진자본주의사회에 발을 들이밀고 있는 것이다. 중국은 경제뿐만 아니라 정치력에 있어서도 이미 세계적인 힘을 갖게 되었다. 원자바오(溫家寶)의 말 한마디가 중국 뿐 아니라 아시아 경제, 나아가서 미국의 증시에도 큰 영향을 미친 것만 보더라도 이제 중국은 아시아의 맹주로서 뿐만 아니라, 세계 초강국인 미국의 견제세력으로 성장한 것이다. 과거 ‘그린스펀효과’와 오늘날 중국의 ‘원자바오효과’에는 색의 차이는 있을망정 효과와 파장에는 큰 차이를 느낄 수 없게 되었다. 그러나 중국은 과연 우리가 알고 있는 공자의 나라, 맹자의 나라, 손오공의 나라, 삼국지의 나라인가. 우리는 과연 중국을 어떻게 이해하고 받아들여야 하는가. 지리적인 근접성과 전통문화의 혼재 그리고 역사의 문제 등 우리나라는 다른 나라에 비하여 중국에 대한 각별한 애증(愛憎)을 품고 있다. 그러나 정작 중국과 중국인 그리고 그들의 근대사에 대해 제대로 인식하고 있는 사람은 몇 되지 않는다. 오래되고 유구한 역사 속에 한․중간의 정치적, 철학적, 도덕적 유대관계에 대하여는 많은 사료와 교육을 통하여 연구되고 계승되었지만, 정작 바로 코앞에 다가온 새로운 세대로서의 중국과 중국인에 대하여는 잘 알지 못하고 있는 것이다. 정작 중국의 현대사는 피로 시작되었다. 1966년부터 1976년까지 10년간을 세계와 단절된 채 마오쩌뚱(毛擇東)에 의해 주도된 극좌 사회주의 운동인 ‘문화대혁명(文化大革命)’은 우리가 알고 있던 과거의 중국을 완전히 소멸시켰으며, 새로운 중국인을 만들어 내었다. 공자의 중국은 존재하지 않으며, 문화의 중심국이었던 중국은 더 이상 문화를 존중하지 않게 되었다. 이 시기에 많은 지식인들이 혁명의 깃발아래 목숨을 잃었으며, 주검을 피했던 지식인들은 노동자로 전락하여 비참한 생을 맞이하게 되었다. 이 시기에 이루어진 과거의 청산은 진시황(秦始皇)의 분서갱유(焚書坑儒)를 방불케 하는 역사의 소멸작업이었고, 중국은 문화대혁명이란 커다란 혈천(血川)을 사이에 두고 과거와 단절되었다. 이렇게 짧은 시기에 과거와 완전히 단절된 중국의 현대사 속에서 사진은 과연 어떤 형태로 존재하는가가 본 논문의 주제이며 고찰의 대상이다. 이를 위해 중국의 사진가협회와 중국 미술 연구원 그리고 학교 등을 탐문하였다. 또한 중국 문화 전반에 끼친 문화대혁명을 이해하기 위하여 마오쩌뚱 사상과 그의 사상이 문화전반에 끼친 영향에 대하여 설명하였다. 중국의 사진계를 이해하기 위해서는 반드시 그 당시의 사고와 체제를 이해할 필요가 있었기 때문이다. 본 논문은 중국 사진가 협회의 구리췬(顧立群)과의 인터뷰를 통하여 20세기 초 중국에 불기 시작한 사진 열풍에 대해 고찰하였으며, 중국사진사뿐만 아니라, 중국문화예술분야에 커다란 영향을 끼쳤던 문화대혁명을 조명하기 위해 리전성(李振盛)이라는 당시의 사진기자의 사진들을 중심으로 중국의 변화를 조명하였다. 마지막으로 문화대혁명 이후 중국 사진계의 이해를 돕기 위하여 남경시각예술대학의 주닝(周宁)원장과 작가 왕샤오휘(王小慧) 그리고 중국사진가협회 등의 인터뷰와 사료를 통해 조사하였다.

生活 記錄 寫眞의 效果的 表現에 관한 考察 : Wedding Photo를 中心으로

신상식 慶星大學校 産業大學院 1996 국내석사

Since the photography was invented in 1839, it has grown rapidly with the human activities. Though the photography was introduced to our country in 1871, it is playing a very important role in modern life. Today, the photography is so important an element that it is impossible for us to think our daily life without a photograph. Science, industry, education, leisure, medical system, and even our daily life use various photographs. The photography not only creates new illusion but also influences on our thought and action. The photography in life is very important in that it recalls past facts and reproduces them exactly as a proof. Since its invention, it has been the best means to copy human life style without any prejudice. so it is meaningful to record human activities such as birth, growth, social activities, wedding ceremony, religion, and death with a photograph. Above all, marriage is one of the happiest moment in individual human life. So it is very important to record effectively this beautiful moment with photography. The aim of this study is to show the more effective expressive way of a wedding photograph and to recognize the importance of recording wedding ceremony. In this study, I tried to analyse and synthesize the composition, lighting, pose and expression in the wedding photograph. Also I tried to find out the meaning of wedding to express the wedding activities more effectively. In a sense, wedding photos are one of the most important record in the sense that it is not only the record of the very events of wedding but also the celebration of wedding. One of the effective expressive way of a wedding photograph is to emphasize the character of the bride and the bridegroom. So a photographer must know the psychological condition and the character of the couple in advance. Since the early 1980's, outdoor wedding photographs have begun to be boomed, and now 70% of brides and bridegrooms hope to have outdoor wedding photographs. Of course, there is a little difference in their preference according to the regional and economical condition, education level, age, cultural background. But as time passes, the outdoor wedding photograph became popular and now it is an essential procedure in wedding ceremony. In the beginning, wedding photographs largely dealt with the subjects in close-ups, but recently, there are various techniques which show the taste of the the couple. In addition, arrangement of photographs became more important element in wedding photograph album. The style of multiple image of David Hockney and Language photo of Barbara Kruger appears also in the wedding photograph. For example. phrases such as "Permanent love" or "Happy marriage" are inserted on the photograph. In conclusion when photographing wedding events, we must consider both the aspect of recording and celebration of the marriage. so a photographer must express the wedding events with imagination and creative idea. To do so, a photographer should know the feeling and character of the bride and the bridegroom. More than anything else, to analyse the psychological characteristic of the bride and the bridegroom is the most important thing which a photographer have to do. And it is most couples' desire to have a beautiful and eternal photograph as a record or celebration of their marriage.

90年代 패션사진의 흐름연구 : Peter Linderbergh, Nick Knight, Albert Watson을 중심으로

이수왕 慶星大學校 産業大學院 1998 국내석사

This study contains a review on the flow of fashion-photo history, a comparison and analysis of works and expression of artists based on the works from 1990 to 1996 of the flow of fashion-photo of Peter Linderbergh, Nick Knight, Albert Watson in ninties. Peter Linderbergh made a black boom by photographing black models like IMAN, NAOMI in eighties. And top-models like HELENA CHRISTENSEN, CINDY CRAWFORD, LINDA EVANGELISTA, KRISTEN MCMENAMY, KATE MOSS, TATIANA PATITZ, CHRISTY TURLINGTON, AMBER VALLETTA, ect acted as his model in ninties. His works tend to be a nude. On the other hand, the age of models is becoming lower. The artist presented not only an exterior beauty, but also an interior beauty existed on pictures, a visual expression making much of story, pictures by stable composition, and a mysterious world existing between ordinary and non-ordinary by balance. The artist expressed the flow of mode by annexing the sentiments of the times to story. In 1990s, he made a story by photographing top-models in daily life, and expressed the world of dream and reality by showing models in a busy street in New York and in a crowded beach, not in a quiet place. He, recently, attracted consumers' eyes on a single picture taken continuously, nude in white background, that contains an interior and exterior drawing. He added an energy to picture through making a story by having 3 pictures into a single picture. He expressed a psychological description of top-models with white background. Nick Knight is a photo artist who pursuits the possibility of a visual and color expression. His photos let us know that there is no limit of our imagination and that our eyes can surpass the aspect of objects, to be sure. Nick Knight trys to see objects from all different sides, even from the sides of our imagination. He helps us to appreciate an unique beauty that we could not see before, from human aspect, posture and gesture. In eighties, the composition by hi-contrast picture(of clear light and shade) and the coloration by distinct colors of white and black were formed. Visually, using accessories or making stories through constitution and composition contributed to visual expression. Make-up, active expression, montage picture and so forth were used for visual coloring expression. Besides, active and static description through annexing 2 pictures were also used. Perspective expression with a model in nature, as well. In 1990s, there are sudjects that give a contrary impression in a single picture. Contrary description by annexing 2 pictures to a single picture through composing figure of solid stone to that of soft woman, or figure of beautiful diamond to that of woman who has a freckly face. In addition, giving a contrary image through a creative print to picture of a beautiful woman was used for visual coloring expression. In 1991, also, composing picture of a beautiful woman to that of water-drop on car window was used for visual coloring expression through color picture of contrary subjects. In 1992, composing another picture(contrary image) to style in 1991 was used for visual coloring expression. Albert Watson pursuited a perfection, and his reputation was exceptional and renovational. In the same time, his style is represented as a picture almost perfect. Albert Watson says, "I tried almost everything about the picture, from beginning." His picture has art skill which goes upto art property. In other words, his picture has image. He gives important outward appearance to the object. He is a photographer establishing into his style using varied style. He started making his style attaching accessories on face, in 1980s. And, he represented his style using focusless photograph, silhouette photograph, contrast representation, and semi-transparent dress. In 1990s, he represents his style using accessories on nude, gold color painting on outward appearance. And, he represents his style by scratching with a nail, for exemple, after printing on an engraving paper making the best use of brush with Art emulsion. And, he represents his style putting much oil on female nude, scared person, or tattooed person. And he gives style making story printing several photographs into one photograph, using art emulsion method. Fashion trend takes important parts in controlling the trend of fashion photograph. As the material, natural fibril and natural color is used. As the style, simple silhouette is the vogue. It is nature that fashion designers in the world pursue for. The property of naturalism fashion is showing the beauty of human body. Eyecatching make up, dark colored and long eyelashes, make up using oil, silver color, or gold color, and unbalanced short hair cut is the vogue. Fashion style strengthens the beauty of human body, ie, lingerie, silk cloth, and nude. To catch eyes, shocking and new image is more necessary than simple image. Modern fashion photograph changes from beautiful fashion photograph to the property of photograph and image. So, it makes more impactive message. And inner image is regarded important. The photographs image is changed according to the situation of the times, and the vogue of that time. The photograph relied on the model's outward beauty appearance, but nowadays, it relies on unique and personal image. And fashion image was represented intimately and symbolically, through editing not a single photo, but several photographs, into one. Selling goods is stimulating a man's desire. Shocking and sexual advertisement has been appeared as a fashion phenomenon. It is a erotic illusion, and it is the expression of stress, and anger of silent majority, as well. It is important how strongly the image of fashion advertising photos appealed to consumers in modern society, and how effectively it had them take image training. In the future, I think, fashion-photos through expressing in reflex appeal strongly to consumers by means of computer composing or editing photo, and garnishing the picture taken again by movie camera with zooming-up, close-up, edit or sound.

초기 사진에 나타난 초상사진의 대중화에 관한 연구

김효산 경성대학교 2000 국내석사

Historical progress shows inherent artistic expressive mode corresponding to inclination, way of thought and political character of the period. And it also has influence on the subject of artistic expression and the way it is expressed. In 19th century, we can see the technique of work as well as character of the face in the portrait is changing. This new technique began to change a way of expression into one we couldn't see so far. The invention of photograph played a decisive role in such change. The photograph is playing an important role in modern life. Today, we can not imagine a life without photographs in some way. The photograph became indispensible to science and industry. It is the origin of mass media like movies, television or video and it takes important place in thousands of newspapers and magazines everyday. Like this, photographs became a part of our daily life. As we have seen them in our daily life so much, they penetrated into our life to the degree that we could not even recognize them any more. One of the characters of the photograph is that it is accepted by every classes of the society in the same way, in which great social importance of the photograph lies. The photograph knows its endowed purpose on the basis of a society, that is technological civilization. A society consisted on the hierarchical system with reasonable spirit is typical way of expression and the best tool for the society. The capacity to reproduce outside reality correctly gives the photograph a character as a recording means and as a means to reproduce social life most faithfully and most fairly. It is natural that a person want to express himself and it is also the most intrinsic attribute that a person wants to keep the portrait of himself, his family or relatives. Long endeavors people want to preserve their face through painting or sculpture became an important duty of the photograph as a medium named photograph was invented. As passing through 18th century, a new status, middle class's desire for portrait which was exclusive possession of high class became the origin of photograph, a new mode of mutual understanding, which came to us as a result of many researchers' effort. Today, the photograph has developed in many various ways, but portrait photograph was given much weight in the early photographs to the degree that it is no exaggeration to say that nearly all of early photographs were portrait photographs. However, after invention of a camera, photographers gathered many people to the front of the camera, advertising that the photograph could satisfy desire for portrait. But, it has a lot of limitation to be popularized for reasons of too high price, insufficient clearness, impossible reproduction and inconvenience due to long time exposure. In this study, I am going to examine whether the photograph introduced under the slogan of popularization of portrait in 1839 was popularized, satisfying people's desire for portrait and the process of the popularization. First, the process that the center of character portrayal and characteristics of changing process are changing from portrait to portrait photograph is considered by examining the changing process of portrait. Second, we should understand changing process of hierarchical system through the situation of the period at the time when the photograph was invented, on the basis of which desire for portrait of a new class, various types of portrait appeared to satisfy the desire and developmental process of early portrait photograph will be examined. Third, the photograph came to attract interest and popularity, claiming that all people are equal and popularization of portrait has begun after it was invented. The situation appeared in such process, meaning of popularization and whether it was realized, centering around Disderi's carte-de-visite and a series of consequent movement which brought popularization of portrait a step closer will be considered.

현대 누드사진에 나타난 에로티시즘에 관한 연구 : 내면의 양상으로 본 1990년대 이후의 누드사진의 경향을 중심으로

김민정 경성대학교 멀티미디어정보예술대학원 2001 국내석사

최근 몇 년간의 사회적 흐름은 경제적 불황과 성(性)에 대한 개방의 바람과 함께 노출의 문화가 발달하였다고 해도 과언이 아닐 정도로 신체의 노출은 일반화되었다. 이런 현상은 시각 예술 분야에 그 동안의 금기를 깨고 정당한 예술의 한 부류로서의 성을 다룰 수 있는 시대로 들어오게 하였다. 본 논문에는 에로티시즘의 개념과 변천과정에서의 개념변화에 따른 이해를 통하여 시각예술에 나타나는 에로티시즘을 인간의 가장 기본적이고 원초적인 감정표현의 방법의 하나로 가치를 두었다. 조르주 바타유(Georges Bataille)의 에로티시즘에 대한 견해를 토대로 현대 누드사진의 에로티시즘을 연구하는 바탕으로 삼았다. 예술적 표현으로서의 에로티시즘에 가치를 두어 회화와 사진에서의 누드작업이 어떠한 상징과 의미를 가졌는지를 알아보았으며, 현대 누드사진 작품들을 통해 현대적 에로티시즘의 표현의 예시를 제시하여 사회적 · 정신적 의미의 에로티시즘의 표현으로서의 누드로 현대 누드사진의 의미를 두었다. 1990년대 이후의 누드사진에 나타난 육체의 에로티시즘을 현대 에로티시즘의 의미와 결부시켜 이해할 수 있도록 근접하여 세기말을 전후로 범람하는 육체를 표현한 사진의 예술적 한계의 의미를 바타유의 논의를 바탕으로 재해석한 결과, 에로티시즘은 표현되는 것과 죽음에 이를 수도 있는 삶 그리고 사랑은 인간 감정에 있어 가장 중요한 정신적이든 육체적이든 누구나 한번쯤은 겪어나가야 하는 사랑의 감정에 근본을 두고 있는 것이라는 것을 알 수 있었다. 현대의 누드 사진은 과감함을 토대로 한 에로티시즘으로 인해 더욱 개방적인 표현의 장을 열었으며, 에로티시즘의 상징적인 표현을 단순한 성적인 표현으로 오인한 작업들로 하여 자칫 노골적인 표현으로 포르노그래피적인 효과만을 노린 사진으로 인식되어서는 안될 것이다. 에로티시즘은 현재 새로운 예술장르를 개척하며 표현의 영역을 점점 확장시키고 있다. 사회가 더욱 각박해지고 급변하게 되면 인간은 가장 원초적인 것을 갈망하고 이러한 갈망은 정신적 억압으로 나타나 이것을 해결하려는 노력으로 다양한 표현법들을 제시하기 때문에 인간의 육체를 다룬 예술의 표현은 더욱 증가할 것으로 본다. 현대사진에 누드작업이 증가하는 것도 이러한 이유에서 일 것이며, 또한 에로티시즘은 여전히 사진가의 정신과 모델의 육체를 통해 다양하게 표현될 것이다. 현대 누드사진에서의 에로티시즘은 단순한 미의 추구가 아니라 작가의 정신 세계의 표출이며 급변하는 사회에서 현대인의 정신적 억압과 그에 다른 성적 욕망의 변화를 표출하는 정신세계의 대변의 장이라 할 수 있다. 우리는 누드 사진을 볼 때 더 이상 아름다운 신체의 표현이나 조형성의 환상을 찾는데서 끝나서는 안될 것이다. 현대의 누드사진이 나타내는 에로티시즘은 현대인의 정신적 욕망의 표현의 일부로 받아들이고 감상자 자신의 내면도 돌아볼 수 있는 것으로 인식해야 할 것이다. With economic depression and the openness of sexuality for recent several year, it pair to say that bodily exposure has been common. And such situation has brought in an era where sexuality is considered as a discipline of Arts, dealing of the subject of which had been a taboo before. In this thesis, eroticism reflected in the visual Arts has been valued as a way of the expression of basic and original emotion through understanding of the concept of eroticism and the change of the concept. And based on Georges Batailles view on eroticism, the eroticism of the modern Nude photographs was looked into. With value on eroticism as a Artistic expression, Nude pictures and photos were looked into to tell what they mean and symbolize, and the meaning of modern Nude photos as an expression of social and metal eroticism was looked for by presenting examples of modern eroticism through modern Nude Photos. With the approach where physical eroticism reflected on the Nude Photos after 1990s was understood in connection with the meaning of modern eroticism, the limitation of Photo Arts, which inundated around the end of last century, was reexamined on the basis of the Batailles argument. And it led to the understanding that for humane beings, the expression of eroticism, life which can be led to death, and love are based on the sentiment of love which every human being must get through in their life at lest once whether it is physical or spiritual. Contemporary Nude Photo opened the chapter of openness with eroticism founded on its bold expression. So therefore it must be avoided recognizing Nude Photos only for its pornographic effects like such photos that take the symbolical eroticism just for its effect of sex appeal. Now eroticism is expanding the boundary of its expression? exploring new genre of Arts. The more our society became harsh and drastic in its change, the more the expression of such Arts that deals with humane body looks like to prevail because it can provide various means in an effort to release their mental oppression where the more intensified human desire for original instinct can raise a matter of mental oppression in such a environment. And the increased nudity in contemporary photo works explains such reason behind it and eroticism will continue to be expressed in various ways by photographers mentality and humane Body. And it can be said that contemporary eroticism in Nude photos is not a pursuit for only simple beauty but it expresses artists mentality and -some place where modern people can express their mental oppression and their change in sexual desire. The appreciation of Nude photos must go beyond the illusion of beautification of humane body and its appearance. In conclusion, eroticism reflected in Nude photos must be recognized as an expression of metal desire of modern people and means through which onlookers can see inner world of themselves.

장례문화 의식변화에 따른 사진 연구

이동은 대구대학교 디자인대학원 2017 국내석사

A Study on the Photo Expression of The Change of Funeral Ceremony Culture Lee, Dong-Eun Dept. of Industry & Information Design, Graduate School of Design, Daegu University Gyeongbuk, Korea Supervised by Prof. Kim, Young-Ho, Yoon, Kook-Heon (Abstract) Human beings are immortal, therefore every people have to die. A funeral is an important ceremony in human lives and the funeral customs for this inevitable death has been changed in many different ways with the passage of years. Funeral ceremonies vary widely between cultures and they are also expressed different ways among social, religious and traditional events. In this respect, this study takes a look at the changing process of the funeral history and influence on the consciousness of the funeral, it also tries to find out how this paradigm's change makes funeral system's improvement and variation. In today's funeral customs based on the Confucian culture and its ideas, people spend a lot of money hosting funerals in a formal manner. It's a big problem that the death costs a lot of money, so we need to think about how we can improve the burial service. In the modern society, especially in our country, we don't have enough territories for the death. So it has become a big issue for the graves to occupy the territories. Second, we don't have enough hands to manege the graves. Some people who have difficulties in taking charge of the graves cover them with cement. Third, every year, many negligent accidents caused by cutting weeds around graves have been increasing before Cheuseok. In these points, this study focus on the funeral ceremony has to change the burial service into the cremation to coexist with the living and the dead and tries to show the problems with the documentary pictures. During the work, the study is focused on getting answers about how the funeral culture has to change and telling what we should prepare for our death through the pictures by themselves. It's because depending on the person who takes the pictures, the results expressed with the pictures look very different in the contents and the meanings. This study consists of three parts. First, what problems are there in the traditional burial service? Second, it records the funeral ceremony to change differently and the ways to cherish the memory of the dead. Last, it is composed of the pictures to illuminate and induce the changes of the funeral ceremony about what the funeral ceremony will be desirable in the future. Everyday human beings are evolving and the funeral culture is also being changed into the environmentally friendly. Thereupon there are many ways to deal with the corpse but the studies and the guidance are not satisfied. The burial has caused several problems to occupy and devastate lots of territories and the descendants have difficulties to manage their ancestors or relatives graves. In this point, burial services are not efficient. Therefore green or natural burials are a step in the right direction. There are many studies on funeral ceremonies, but this is the first study using picture expressions on funeral customs. As a result, this study will be expected to play an important role to change the funeral culture and the funeral laws. 장례문화 의식변화에 따른 사진연구 대구대학교 디자인대학원 산업정보디자인학과 이 동 은 지도교수 김영호 , 윤국헌 사람은 언젠가 죽는다. 누구나 피해갈수 없는 죽음은 시대 흐름과 문화에 맞게 다양하게 표현되며 변화되어 가고 있다. 그 장례변화 형태는 현대에 와서 다양하게 변화되고 있다. 사회적·종교적 행위도 있으며, 전통적 장례 의식으로 표현되기도 한다. 장례의식의 변화과정에 대해 역사를 살펴보고 장례 인식에 대한 어떤 영향을 미쳤으며, 이러한 패러다임(paradigm)의 변화가 어떻게 장례제도 개선과 변화를 주었는지 살펴보았다. 현대에 와서 장례문화는 유교문화와 사상을 바탕으로 예를 중시하여 격식과 장례 의례를 통해 많은 비용이 들어가는 특징을 갖고 있다. 죽음에도 비용이 필요하며, 이런 장례문화를 어떻게 개선시켜 나가야 할 것인가? 매장문화에서 화장문화로 변화됨에 따라 표현되는 장례문화를 살아있는 자와 죽은자가 공존하면서 함께 할수 있는 문화로 변화되어야 한다는 당위성에 초점을 맞추고 오늘날 우리의 장례문화에 대하여 접근하였다. 추석을 앞두고 벌초로 조상들의 묘지로 인한 안전사고가 해마다 증가하고 묘지관리가 힘들다고 봉분을 시멘트로 덮은 묘지와 국토의 많은 부분을 묘지가 잠식해 가고 있는 사회적 문제를 사실적인 재현에 바탕을 두고 다큐멘터리(documentary)사진으로 엮었다. 사진으로 보여주는 결과물은 같은 대상이라도 찍는 사람에 따라서 내용과 의미가 달라지지만 본 연구를 통해 우리는 죽음에 대하여 무엇을 준비해야 할 것인지를 이야기 하고 싶었다. 앞으로 어떤 방향으로 장례문화가 바뀌어야 될 것인지 사진을 통해 스스로 답을 찾도록 하는데 초점을 맞추었다. 본 연구의 작품전개는 크게 세 부분으로 나누었다. 첫째는 전통적 매장문화의 현실과 문제점에 대하여 다루고, 둘째는 현재 다양하게 변화하는 장례의식의 형태와 추모방식을 기록하였다. 그리고 마지막 세 번째는 앞으로 어떤 장례문화로 발전되는 것이 바람직한가? 에 대한 장례의식의 변화를 계몽, 유도하는 사진으로 구성하였다. 인류는 매일 진화되며 발전 하고 있고 장례문화 역시 친환경적으로 변화하고 있다. 이에 따른 시신처리 방식에 대한 방법 또한 다양화 되고 있으나 장례문화에 대한 연구와 지도계몽은 아직 미흡한 실정이다. 매장으로 인해 죽은자들이 차지하는 국토가 점점 늘어가고 있으며, 산림이 황폐화되고, 많은 묘지들이 후손들이 관리가 제대로 이루어지지 않고 있다. 따라서 장례문화는 여러모로 비효율적인 매장보다는 친환경적인 자연장으로 가는 것이 바람직하며, 자연과 하나가 되어 추모할 수 있는 형태로 정착되어야 할 것이다. 지금까지 장례문화에 대한 이론적 연구는 많이 있었지만 사진논문으로 발표한 사례는 이번이 처음이다. 이번 논문을 통해 앞으로 장례문화 의식의 변화와 장례법 개선에도 작은 역할이 될 수 있기를 기대해 본다.

칼라사진표현의 사진사적 의의와 그 영향에 관한 연구

김관수 경성대학교 산업대학원 1994 국내석사

A color photography is the most excellent media to express a color of nature. In spite of unbounded possibility and reappearance, the value id the photography has not acknowledged well. In the beginning 1970's, the possibility is presented by the young photographers activing around America. Invention of a color photography is appeared a new media with infinite potential energy. It could transcend the limits of color expression, the problem of a black-and-white photography 'Documents' reappearing the fact of reality and 'Image' organized newly based on document could fascinate. As a color photography, a black-and-white photography realized the limits of the fact reappearance investigated a new appearance method. So, enlarged the boundaries of more various appearance field. It result in a basic power. The first acceptance of color photography was inadvertize ment and news. When the existing photographers was hesitating to accept a color photography, some photographers gave full play the excellent color and vision of color photography with their expression purpose. In a history of photography, the value of color photography was reserved during the long time. After 1970's, the province as a expression media was located by the bold young photographers. The limits of color was sought an inner world in a real reappearance of color photography. The various expression with color photography is presenting the vision of unlimited expression in a entry of new abstract passing the step of expression. When the potential energy is showed eternally, either experimental approach or metaphysical sight, a color photography with the light and color at a time will be reclaimed a new history of photography.

現代 美國 寫眞에 있어서의 페미니즘 女性寫眞家들에 關한 考察

이미환 慶星大學校 産業大學院 1996 국내석사

In early phographic invention women photographers had many troubles to work in their photographic realm because of social recognition and thechnical estrangement at that time, so they couldn't expert active. But then women had their own a characteristic view of photography which was taken by themselves. Even though they were not skifull and professional, and had very small limits of actives as an amateur, they kept on trying to take many good photographs. In 1960s there was Feminsm movement all over the world, since then gradually women photographers realized their social position and valuation. Today many women lead an actives in photographic realm as the main current. Women photographers take possession of veryimportant role as artist in photography. Women are increasingly using photography to politicize the history of indignities suffered through male dominance in Western society as a whole. And photography by them is lodded subject, replete with every issue that has plagued or glorified the sex, from its sensing powers and sense of destiny. This does not mean the ways women have thought to express their widely felt despair and vulnerabillty as perennial objet of the disenfranchising male gaze, a subject that has engaged so many among the politically correct practitioners of the new art history. Introduction of feminism in photography, women realized their social recognition and they influenced in not only visual aspect but also thechnical and artistic aspect of photography. Consequently this introduction of feminism in photography has very important significance. Feminism reflect important an aspect of art of now and the past as well as problem of future.