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.

현대 한국 문화재사진의 정체성 연구 : 유물·유전사진의 표현성을 중심으로

하동균 경성대학교 2002 국내석사

As material civilization develops, peoples interest in their cultural inheritance gets more aroused. Many photographers, travelers, and cultural asset workers have been active with their camera on hand for their study and appreciation on cultural asset scattered nationwide. In line with this, more and more people become to appreciate and understand cultural asset through its photos taken by cultural workers even though there are still many people who enjoy seeing cultural asset themselves. But unfortunately, there has been no conspicuous theoretical backing on cultural asset photos though. Taking into account this circumstances, I tried to define the concept of cultural asset photos and looked at how Korean cultural asset photos became to its existence and developed. And also I examined the identity of Korean Cultural Asset photos by looking at the current situation and prospect for future application of them, focusing on the expression of recent photos of historic sites and relics. I defined cultural asset photos as such photos that were objectively recorded for the sake of appreciation and understanding of a wide range of cultural assets, and Korean cultural asset photos have been defined as those that are taken of Korean cultural assets in Korea. As for research material, such various sources as not only cultural asset related books photograph collection owned by individuals, museum, or publishers, but also photos presented in travel books and in the Internet as well, were employed. On the other hand, the history of Korean cultural assets was divided into three periods, introduction, development, and establishment. There was not any distinctive expression in the period of introduction indicating that photographer pressed the shutter just from where he/she was. That is, it was understood that the photo taking of cultural asset in this period was at just the level of taking the records of cultural asset. With the advancement of the period of development, cultural assets began to be picked up in partial by photographers and became transformed into cultural asset photos. That is, so much emphasis was laid on cultural asset itself thereby filling the whole frame with it that telling information other than about itself was difficult, making photos look plane and rigid. Nevertheless, the point of angles became more diversified than that of introduction period and the expression of composition of the picture became more organized. Then it was in the period of its establishment that the artistic side of cultural photos began to appear beyond the mere record of cultural asset. While the cultural asset photos of the past were isolated rigid, the photos of these days present natural impression by presenting not only cultural assets themselves but also their background in time and space. The point of taking pictures so expended as to facilitate comfortable composition of picture and the change in illumination and angle became more varied. Cubical expression was realized with the expression of silhouette from illumination effect. And there can find outstanding efforts that it tried to keep its color temperature the same with that of natural illumination. It expressed not just only the beauty of cultural assets through photographic beauty but also took photos bearing mind that it could be valuable academic materials such as history science in 50~100 years. Here setting natural scene and character around cultural assets is somewhat subjective element chosen by its photographer, therefore it can be said that modern cultural asset photos tend to have trend of being open and artistic. Considering the difference in expressing even the same cultural asset, it is time to recognize that cultural asset photos are re-creation that reflects photographers ideology and soul beyond the mere records of them. Thus this kind of conception will promote diversified development in expression of cultural asset photos. Never the less, sentimental and momentary photos that can be swayed according to personal mood should be avoided. Photographers freedom of expression should be respected as long as photographers respect the purpose of cultural asset photos- objectively recorded photos to help appreciate and understand cultural assets. Recent trend shows that in addition, such various circles of groups as reporters, zoologists, botanists, cultural asset workers, etc. began to participate in the photo taking of cultural asset. The demand for cultural asset photos for tourists postcards and museums, other publishers is increasing and many personal web pages as well as cyber museums display a lot of them. And it is assumed that such direction of cultural photos is desirable development. Now its about time we realized that cultural asset photos are also a part of cultural asset, thinking of harmonious combination of form and color, a far from over posting it. And everybody should have opportunity to enjoy his or her efforts. Experience the past taught us shows that those who faithful with their study and the photo taking of cultural assets can be successful in the field. The understanding of esthetic side of cultural asset and its history should come first rather than neglecting the cultural asset while over emphasizing only esthetic side of photography.

새로운 시각으로서의 Documentary 사진에 대한 연구 : Lee Friedlander, Garry Winogrand, Diane Arbus의 작품세계를 중심으로

김영태 경성대학교 산업대학원 1994 국내석사

The photography has been developed through the recording property which is its essence has conflicted with the pursuit of art character. The documentary photography which is very important in photographic history also has been changed as the social structure has been varied and vision-media has been improved. The objective record and transmitting are fatal to the documentary photography, it has devoted to presenting some problems all of the societies and seeking the way of solving them. That is to say it has played a very improtant role in solving all the social problems which need making a public sympathy. As the period came in 1950s, the documentary photography began to search for a new direction because the community became richer and in the result of that other vision-media such as television and movie have been developed and supplied very fast. A very different documentary photography from the traditional one in its style appeared, the works pursuit of the personalization of the vision-language by expressing things not by the objective but by the personal subjective view. The representives of such work activity are Rober Frank, William Mien who played in 1950s and early 1960s, have been called as new-visionism photographers because distinctively the former documentary photographers they took the social situations with a very persional view and the way of expression was also particular. The followr of them, Lee Friedlander, Garry Winogrand and Diane Arbus in 1960s showed the more personalized works. Lee Friedlander and Garry Winogrand displayed their own idea in a social situation, Diane Arbus did her inner world by taking pictures of the person who was alienated from the society and the folks with her peculiar view. The purpose of the former 1950s documentary photography persuaded the photographers to descrive a human and social reality and to improve them, the view of thing was sentimental and sympathetic. Contrary to the documentary photography with the new point of view only to observe social structure and see the reality never presented social moral opinions or ethical contentions and made consequence the existing relationship between them and their object. In addition to that they expressed the more inner thing by assimilating themselves with the object. Such changes of documentary photography realized not only in form and matter of the works but also in the way of publishing the works. While the former photographer's works had been published by the public media like Life, the new documentary photographies were exhibited in an art museum or in a gallery for the photography in the form of priviate exhibition or a planing exhibition on a large scale. And the photographers published their private work collections. It is helpful to understand the varius form of the modern photography after the 1970s to study such the change of the documentary photography.

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.

Web 環境에서 寫眞의 役割에 關한 硏究

문홍일 경성대학교 멀티미디어정보예술대학원 2000 국내석사

광고 매체는 기존의 광고인 인쇄매체광고에서 전파 · 영상매체 광고로 변화함은 물론 그 양적인 증가가 광고의 중요성을 대변하고 있다. 과학기술의 발전으로 컴퓨터와 통신기술은 정보혁명의 핵이라 할 수 있는 인터넷을 탄생시켰다. 인터넷은 정보제공의 매체로 매스미디어 시대를 한층 앞당겨 "정보화 사회"는 사회 · 경제 · 문화전반에 걸친 변화로 시간과 공간상의 거리를 무의미하게 만들어 인터넷으로 검색이 가능한 웹의 환경으로 확대하였다. 웹 광고는 컴퓨터라는 매체를 통하여 사진분야에 이용됨으로써 광고사진에 있어서도 많은 변화가 일어 컴퓨터를 이용한 웹 광고 사진이 나타났다. 이러한 변화의 중요한 점은 광고 사진과 기술의 공동작업으로 이루어지기 때문에 웹 광고 디자인에 사진이 원고로 적용된 범위와 이용되었을 때 광고표현에서 사진의 역할과 효과를 분석하기 위하여 사진으로 표현된 이미지의 효율성을 연구하여 사진이 시각적인 언어로서 어느 정도 인식되고 있는가를 연구하였다. 본 논문의 연구과정을 살펴보면 서론에서는 문제의 제기, 연구목적과 방법 및 범위를 제시하고 본론에서는 인쇄 매체광고 중 신문에 표현된 광고의 시대적 흐름과, 형태를 살펴보고 이어서 웹의 전반적인 분석과 웹 광고의 특성을 살펴보았다. 또한, 웹사이트에서 사진의 역할과 효용성에 대하여 특정 홈페이지를 샘플로 선정하여 시스템과 웹사이트를 분석하였고, 원활한 연구를 수행하기 위하여 인터넷을 이용하는 대상과 목적, 활용도 등에 대하여 설문조사도 실시하였다. 결론으로 웹 광고의 미래에 대한 전망을 연구범위로 한정하여 연구한 결과 웹 광고는 전자매체인 인터넷 통신을 이용하여 컴퓨터에 의해 검색되므로 검색을 위하여서는 ①네트웨크된 컴퓨터 시스템의 소장이 필수적이며, ②검색 대상 사이트의 IP를 알아야 한다. 반면에 검색이 되어도 인쇄매체광고보다는 시각적인 전달에서 이미지의 사실성을 표현하는데는 다소 부족함이 있지만, 사진을 이용한 이미지 자료의 신속한 변경과 수정 및 작은 화면의 확대까지도 가능한 웹 광고에서 사진의 역할이 대단함을 확인하였으며, 이제까지 연구한 내용으로 미루어 보아 웹사이트에 올려진 사진은 시각언어로써 사실과 현상을 이해시키는 수단으로 충분한 역할을 하고 있음이 증명이 되었지만, 보다 객관적인 연구를 위하여 설문을 실시하였다. 설문은 고등학생과 대학생 각100명씩, 직장인 50명을 대상으로 하였는데 그중 240부가 회수되어(회수율 96%)인터넷의 검색 내용을 파악하는데 있어 사진 역할의 중요도를 알아보았다. 설문지의 구성은 인터넷 검색과 관련된 11개 문항으로 인터넷 검색자의 환경, 인터넷 검색여부, 인터넷검색에서 사진정보에 대한 느낌과 미래의 예측 등이었다. 회수된 자료는 SPSS패키지로 데이터를 처리하였으며, 분석결과는 응답에 대한 빈도 및 히스토그램으로 표현하였다. 웹사이트에서 사진은 언어적 · 설명적 · 전시적 의미를 전달하는데 사진이 게재됨으로 인하여 사실과 상황의 전달에 사진의 중요성이 돋보였으며, 사진이 중요한 역할을 하고 있었다. 광고 매체의 변화는 기존의 광고매체인 인쇄매체광고와 전파 · 영상매체광고 시대를 거치는 과정에 그 양적인 증가가 광고의 중요함을 대변하고 있다. 과학기술의 발전으로 컴퓨터와 통신기술이 주도하여 정보혁명의 핵이라 할 수 있는 인터넷을 탄생시켰다. Quantitative increase of advertisement media that is generated by going through old print media age and present image media age is speaking for the importance of advertisement. Because of an advance of science technology, computer and communication technology created internet, a core of intelligence revolution. Internet is information media. It opened intelligence society by accelerating the advance of mass media, age and changed society, economy, culture, etc. We can overcome limitation of time and age by web that is able to be searched by internet. Web advertisement is used to the field of photograph through computer. Because of this advance in advertisement photograph, web advertisement photograph which is used by computer is created. The important thing of this change is the fact that change is occurred by cooperation of advertise photo and technology. Because of that, we most study about the efficacy photo image in order to amalize the role and effect of photo when it is used to web advertisement so I studied about recognition of photo as a visual language. In this thesis, I described about presentation of problem, intention and method and range of study. At main subject, I examined periodic flow and form of newspaper advertisement. Then I examined an analysis of web photo and an trait of web advertisement. Also I choose specific homepage and analyzed its system and website, in order to know a role and effect of photo in website. I made up a question purpose and apply of internet in order to efficient study. I studied limitedly the prospect of future web advertisement at the end. Web advertisement was scarched through internet communication and so ① we should have network computer system essentially. ② we have to know IP of searing site. Even if web photograph want to be more representing things as they really are than printed photo for visual communication, it is very important for the role of web photo to change and retouch the images and enlarge the web photograph screen possibly. It is proved that web photograph has very import role to understand the fact and phenomenon as visual language, but I made up a question to study objectively. I asked 100 highschool students and 100 university students and 50 office workers and returned 240 questionnaires (96% return rate) that is the role of web photograph to search internet. The questionnaire is made up of 11 elements which is the environment of internet, the possibility of internet searching, and feeling and prospect of internet web photograph...etc. The returned questionnaire analized by SPSS package and the result of analysis was represented the frequency of answers and histogram. The photograph in web site has very important role of linguistic, explanative meaning for realistic and situational expression.

포스트모더니즘에서의 寫眞媒體에 關한 硏究

윤국헌 慶星大學校 産業大學院 1995 국내석사

These days, It is thought that the photo is one of the most impotant media in recognizing the sense of the sight.The photo has expanded the possibility to express the art as well as the artistic peculiarity while concerned with the art field continually.In addition,it is not strange for the photo to be united with the medium such as the other visual arts since postmodernism was in the rise. The method and expression to make use of the photo medium were too complex to distinguish the line of demarcation between genres as well. The reason why the postmodernistic art makes use of the photo medium rather than the objects of pictures may be given the main two. One is the means to make up for the deficiency of the possility and originality in modernism and the other is what results from the reaction to get out of the traditional mode to express in modernism.The artists of progressive ideas to understand that the photo is the unique medium to have the property and creativity induced the photo medium to critical means. By doing like this,the works with the postmodernistic contents could be made, of course, they came to get out of expressing the arts in formalism which had controlled the western society for many centuries. The expressional method is much more unrestricted than the traditional one, moreover, the relation with the photo and the art changed into the close cooperative one each other unlike the past. Photorealism, Conceptual Art, Media Art found from the 1960's are the art mode which is based on the photo technique. This is greatly significant in the photo field. The photo medium of the popular art played part in only the object of pictures, however, by being confirmed the fact that the photo image through the works by the several techniques such as Colage, Combine painting, juxtaposition, hybridization and so on make up the allegory as theartistic principle we can know that it has the close relation with postmodernism. In the 1970's, the objective record and the delicate representation of the photo contributed to pictures as the supporting medium for the represenaional art in photorealism and conceptual art, therefore, the photo as the coping means was proved to be the medium suitable for conception. It was in the latter 1970's that the photo as the medium had the postmodernistic property, when the medium artists raised the appropriation, pastiche, and dismantling properties of the photo image far more. In this time, the dismantling work resulted from the critical point of view against the tradition that reunion after dismantling is supposed, in particular, women-media artists applied the dismantling property to the means for the feministic art to achieve the feminism. The reason why the photo became the new medium for expression to the postmodernist was that as follows.the special method for explanation is needless because the general public are familiar to the photo image. The other reason is the unique usefulness of the photo that it is changed the value with rapidity because of the convenient remake-up such as the exchange and enlargement of the realistic image. So far, the photo as the art medium has made use of frequently, so that the new trend called 'making photography'is made up and concept itself as the artistic or traditional photo is changed and used. Consequently, the confidence of the photo(the photographic reality)was available no more and the pure dismantling property of the photographic Image became to be nothing but illusion. such effects made the photo in the art fields vague, on the other hand, the boundary between the arts was getting smaller,the expressive possibility of the photo was expanded far more,therefore,it became the chance the photographers in the 1980's could approach evenmore closely to the photo of postmodernism. Postmodernism has the affimative side that it enables the tradition in orks to represent and the art to connect with society, environment, and life while has the negative one that the plagiazed works have appeared as protecting the works to abuse the reproduction and representation of the photo or accepting the odd and incomprehensible works which result from the ambiguous and pluralistic property of the photo.These days,the medium artists in the country have a tendency to make the postmodernistic works by using the photo medium while being criticized with imitating as it is through not using postmodernism.The Korean postmoernism like the western postmodernism should be originated by the reaction against the Korean. Now,the term named 'the photo medium' has became to do duty as the important one.The relation with the photo and the pictures will be continued in the future for a long time,in addition,the approach to the electronic medium is being developed actively. A number of artists are applying the new image medium and advanced technology to the means for creativity which cannot be divided by the traditional genre concept of the past. These phenomena shown that the photo is not the field only for the photographers can lead to being distorted the nature of the photo and limiting the category extent of the photo as the pure art. Therefore, the photographers will be able to sublime the photo to the art by developing the original expressional power of the photo and suggesting how it is different from the photo which is used for the medium by the other visual artists.

新聞寫眞의 變遷過程에 關한 硏究 : 地方紙 慶南新聞 1面을 中心으로

이영환 慶星大學校 産業大學院 1996 국내석사

In these days, Informations are flooded through mass-media. But, readers are so busy to get all the information. Therefore readers seek to get the truth by looking a piece of photograph rather than reading a long article. So Photojournalism, stands firmly in society. And we can't imagine newspapers and magizines without photographs and the squares of photograph are becoming larger from day to day. The newspaper photographs opened up it's own territory from "Reading news" to "Watching news" - that conveys and shows exact appearences and backgrounds of the things or occurences that are difficult to be explained only by articles. Therefore, it could be, changed from "reading newspaper" to "watching newspaper" as a necessary change of today's newpaper. Newspapers is more improtant than any other days for the development of the local community after the implementation of antonmic system. Then the role of local newspapers news photo is also growing larger. The scope of this study is limited from the first page's photo that can be a face of newspaper And this study examine what is the role and function of news photo, and which changes have happened on it. The first page is called "the face of newspaper" and has the most important article and photo of the day's news. Also it is called "the general face" which is inclined to politic articles and photos. Therefore, the purpose of this study is to look into the process of the transition from "reading newpaper" to "watching newspaper" and to explore ways the future newspaper photographs to be fllowed, Among 42 local newspapers, I choose the first pages of Kyung-Nam Newspaper, where I am working for, as my studying on photograph.

사진의 의미작용에 있어서의 기호학적 접근방법에 관한 연구 : 신문사진을 중심으로

윤원정 경성대학교 멀티미디어정보예술대학원 2000 국내석사

This thesis is a study about photography and when applied to linguistics photography has linguistical characters. Photography is applied to Saussure's symbolic logic, Peirce's symbolic logic, Barthes's evolutionary teory and the symbolic logic in rhetorical metaphor. these kinds of classification are divided as a matter of convenience, but actvally these methodolgies are too closely srelated to classify. Saussure considered only as an artifical sing system as sing and it is included in the research. On the other hand, Peirce defined sings that didn't need the presence of a human sender if sings are what shows something in stead of showing it to sign users because everything can be defined in signs. His sign theory is an unlimited study field because he deliberated signs that meant not only customary sign system made by human for communication but also natural phenomenon and accidential occurrences. Symbolic logists explain Saussure's symbolic logic is the theory. of customary system for communication and Peirce's symbolic logic is the theory of the meaning process. The meaning action is the process connected to forms of sign and content of sign in Saussure's sight. It is made by the three components - a sign, a interprecation and an object. However, the meaning action isn't simply settled this way. Saussure said that the meaning of the sign is concluded by the structure of the reaction with others. It means reaction of signs can vary according to the culture or the situation. Signs can be totally understood by the object as well as by the relations among interpretation of other signs, even in culture a sign is used. The point of sameness between Saussure's sign nation and Peirce's can be read and written diffently depending on sign user's cultural experiences. Effective meaning action is that each meaning action is related not accidently but purposesly and meaningfully showing something formation rahter than an orignial thing can be more definite visual meaning action to acceptors. Roland Barthes, who developed this theory, thought about meaning action and suggeseted and announced that the model can analyze signs, codes and texts of meaning action. 'Barthes tried to analyze how additional signs of meaning action in a society. The notion of the metaphor is said to be applied to both linguistic signs and unliguistic signs as the signal notions in the rhetorical technigue of literature. The notion of the metaphor can make it possible for the signal to identify the meaning, and interpret how the meaning can be identified in concrete among signs. The photographs play roles in the system of absorption in our cultural society in a different way. All elements in photographs have their own symbolic system and all of these elements are also composed of internal and external meanings. These formations of the meaning make of different levels and unlimited meaning by plural relation. Acceptors frequent the different levels and admit a lot of meanings of photographs. In conclvsion, signal analysis tries not to say what photographs say but to explain the logical process of a photograph so that many expressive elements are transmitted to one message in this thesis.