바로크 시대극에 나타난 영화의상의 조형적 특징

김주애(Kim, Ju Ae) 한국디자인문화학회 2017 한국디자인문화학회지 Vol.23 No.4

인체를 강조한 근세 의상에 대한 복식 연구는 주로 16세기와 18세기에만 치중되어, 17세기 복식 연구는 미미하다. 17세기의 바로크시대는 청교도혁명과 계몽주의 등 사회 · 문화적 환경의 영향으로 이전의 르네상스시대와는 의상형태가 확연히 달라지고, 특히 한세기 내에서도 복식의 변화가 현저하여 복식연구에 있어 어느 시기보다도 중요하다. 그러므로 본 연구에서는 바로크시대를 3시기로 구분하여, 그 시대의 복식을 가장 잘 표현할 수 있는 시대극 중 각 시기별 복식을 분석함으로써, 사회 · 문화적 환경이 복식에 끼친 영향과 바로크시대 각 시기별 남녀 복식의 특징을 고찰하였다. 연구방법은 선행연구, 문헌을 통한 이론적 내용을 바탕으로, 바로크시대를 배경으로 한 영상매체중에서 바로크시대 복식 특성이 잘 표현된 영상매체를 선정하여 DVD 플레이어를 통해 시각적 분석을 하였다. 바로크시대 복식의 특징 분석에 적합한 영화〈사총사〉 27개, 〈삼총사 3D〉 25개, 〈레스터레이션〉 25개, 〈아이언 마스크〉 21개, 〈왕의 춤〉 25개, 〈영국식 정원의 살인사건〉 27개를 선정하여 분석하였다. 바로크시대 배경의 시대극 영화 중, 바로크시대 초기의 복식 특징이 잘 반영된 영화 〈사총사〉와〈삼총사 3D〉에서는 슬래쉬, 폴링 칼라, 둥근 스토마커 등을 통해, 16세기 말의 복식이 약간 유지되면서 네덜란드 영향으로 16세기와는 달리 검소하고 단순한 복식으로 변화된 점이 잘 표현되었다. 바로크 예술양식이 성행하던 17세기의 복식 특징이 잘 반영된 영화 〈레스터레이션〉, 〈아이언 마스크〉에서는 짧아진 푸르푸앵, 노출된 셔츠 등으로 바로크시대 중기의 자유분방함과 약동적인 복식 특징이 잘 부각되었다. 영화 〈왕의 춤〉,〈영국식 정원의 살인사건〉에서는 퐁탕주, 버슬 스타일, 쥐스토코르 등으로 바로크시대 말기의 복식특징이 잘 표현된 화려함이 극치를 이루었다. 이 연구는 향후 바로크시대를 배경으로 한 시대극 영화의상 연구의 기초 자료로 활용될 것이다. Research on costumes during the modern period highlighting body line has been done focused on those in the 16th and 18th centuries, and costume research into the 17th century is very rare indeed. Costume in the baroque period during the 17th century was influenced largely by sociocultural environments such as the puritan revolution and the enlightenment and as a result, it showed quite different costume patterns relative to those in the renaissance. Given that change of costume trends may be quite remarkable even within a century, this baroque period may be more important than any other periods for costume research. Thus, this study divided the baroque period into three parts and analyzed costume by each part using historical dramas that could show most effectively the costume of any relevant period. And then it examined the impacts of sociocultural environments on the costumes as well as characteristics of man and woman costumes by each part of the baroque period. The study carried out visual analysis through DVD player by selecting video media expressing features of baroque costume properly out of visual media based on the baroque period on the basis of theoretic contents through preceding researches and literature. For an empirical study, this study analyzed baroque costume expressed in the movie. Of 27 costume in the movie 〈The Four Musketeers〉, 25 in the movie 〈The Three Musketeers〉, 25 in the movie 〈Restoration〉, 21 in the movie 〈The Man in The Iron Mask〉, 25 in the movie 〈The King Is Dancing〉 and movie 27 in the movie 〈The Draughtsman`s Contract〉, this study selected and researched costume suited to express characteristics of baroque costumes. for an empirical study. Of historical play movies with the background of the baroque period, movie 〈The Four Musketeers〉 , 〈The Three Musketeers 3D〉 well reflecting the features of costume in the early baroque period, used slash, rounded stomacher and properly expressed the change of costume to plain and simple style influenced by the Netherlands unlike the 16th century, while maintaining some parts of costume prevailed in the end of 16th century. Movie 〈Restoration〉 , 〈The Man in The Iron Mask〉 well reflecting the features of costume in the mid baroque period - peak time of baroque art style - highlighted free and dynamic features of costume using shortened pourpoint and exposed shirt. On the other hand, movie 〈The King Is Dancing〉 ,〈The Draughtsman`s Contract〉 using fontange, bustle style, justaucorps, reached the height of gorgeousness of costume, reflecting the style toward the end of the baroque period. In the future, this study is going to be used as basic data for research on movie costume of historical dramas against a backdrop of the baroque period.

과달루페 성모의 사례를 통해 본 중남미 식민지시대 바로크의 현재성과 정치적 함의

송상기 한국바로크학회 2021 바로크연구 Vol.4 No.-

This article, inspired by the baroque ethos of Bolívar Echeverría as critical form of life within Capitalistic Modernity on interpreting Virgin Guadalupe, the pinnacle of cultural Mestizaje of New World. The indigenous people in urban area in 17th century, the survivors among ruins of uprooted civilizations, opted baroque approach with immersion on Christianism when facing an ontological identity crisis. In the “absolute staging” of the performance, indigenous people pursue with vigor the imaginary and virtual reality within the given reality. Even though they could not recuperate their ancestral deities in the process of Western immersion as a way of survival, they reinvented a whole new autonomous christianity such as Guadalupan Catholicism by performing absolute staging. Serge Grutzinsky notes Mestizo mind at the very core of Guadalupanism. As Virgin Guadalupe turned out national identity in Mexican history, it is necessary to analyze its political implication and the presence of baroque ethos in present.

아나모르포시스와 바로크 시대 선 원근법 이론

조은정 미술사학연구회 2010 美術史學報 Vol.- No.35

Dealing with anamorphic images had been a part of Linear perspective system since it was first developed by the Italian Renaissance humanist-painters, as is observed in the case of Piero della Francesca. Anamorphoses are perceived distorted unless they are viewed from a specific distance and angle of sight. Therefore, it is essential for the painter to embody a particular viewpoint outside the picture plane of the anamorphic diagram which is projected inside the diagram. Such a concept of a determined view-point for optical illusion of three dimensionality is the core of Renaissance geometrical perspective, especially in the 'distance point method'. However, it is the Baroque period when anamorphosis became theorized with a complete system. The perspective theories turned into a transitional period in the seventeenth century. While new analytical geometry of perspective was developed by scholars and mathematicians, artists' main concern remained on the practical aspect of three dimensional representation. Andrea Pozzo's perspective treatise and the trompe l'oeil dome in the S. Ignatius Church of the Roman College reveal the culminating stage of practical tradition of Italian Baroque perspectivists using distant point method of the previous century. On the other hand, the center of perspective study shifted from Italy to Northern Europe in the seventeenth century. The conflict between the Protestant Reformation and Counter Reformation movements of Post-Tridentine Europe provoked various challenges to the whole cultural paradigm. And the newly developed interests in the subject of anamorphosis observed in the perspective treatises and artistic devices of these French and Dutch scholars and painters can be interpreted as the conversion of a world view, questioning Renaissance's premise of cognition and representation. French Minim priest Jean François Niceron's La perspective curieurse, ou magie artificielle des effets merveilleux and Dutch painter Samuel van Hoogstraten's perspective devices are major examples of this new current. Their works show that anamorphosis reverses the projecting process of Albertian linear perspective where the picture plane is placed between the eye of the viewer and the seen object, so that the picture plane extends toward the viewer. It can be said that Baroque anamorphic perspective theories and practice resist the idealized spatial concept of Italian Renaissance perspective that is determined from the central view point. To those Baroque theoreticians and painters, anamorphosis was a proof that shows how easily the pictorial illusion is swayed by the physical condition of the viewer and how ambiguous and subjective the relation between the objects, perceiving eye, and cognized image is.

바로크 시대 남성복의 미적 특성에 관한 연구 - 17세기 후반을 중심으로 -

정현숙(Chung, Hyun Sook) 한국생활과학회 2019 한국생활과학회지 Vol.28 No.4

르네상스 이후 20세기에 이르는 여성 헤어스타일의 변천

이경희 ( Kyung Hee Lee ) 한국의류산업학회 2007 한국의류산업학회지 Vol.9 No.1

CPE 바흐의 건반악기 협주곡 형식의 재고

천은미,신동진,송무경 연세대학교 음악연구소 2022 음악이론포럼 Vol.29 No.2

Carl Philipp Emanuel Bach’s keyboard concerto has been overlooked in music history and theory despite its historical and stylistic significance. As symphony and sonata form were getting more attention in the Classical period, solo concerto was regarded as a derivative genre of symphony. Moreover, the double exposition in Mozart’s piano concerto became the standard in the solo concerto genre, which excluded former concerto types in history. After the recovery of Emmanuel Bach’s musical asset in Kiev in 1999, his music got a lot of attention from North American scholars. In accordance with their recognition, this study reviewed theoretical studies on Emmanuel Bach’s keyboard concerto form and modified their approaches. By analyzing some of Emanuel Bach’s keyboard concertos, we tested Shelley Davis’s three concerto-form models devised in the 1980s and provided two additional models. As a result, this study traces the history of keyboard concertos and emphasizes the formality and originality of Emmanuel Bach’s keyboard concertos.