open access
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open access
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ISSN : 2508-3309
Arts have changed continuously reflecting the times with the political atmosphere and social systems. As political, economic, and social big changes have occurred since World War II, antihistorical tendencies rejecting modernism in the early 20th century have come to appear in culture and arts as well. With these social changes, radical, avant-garde and artistic tendencies with strong experimental spirits, which rejected modernism took place especially in American dancing world. Trends of improvised elements and experimental trials were dominated discovering expressions of new movements in intentions and expressions of works. The purpose of this study is to investigate the effects on choreographic forms of modern dance until today by exploring choreographic characteristics of this postmodernism. To examine post-modernist inclinations in works, Trisha Brown who led American post-modern dance stressed dance for expressions of movements in themselves and pure movements by actively accepting into dance works American social flows which played a major role in postmodernism starting from 1960s. American modern dancers considered body in itself as important one and any emotional expressions and individual sensitivity is excluded as their physical expressions are factual, realistic, and due to their movements. They imprinted dance as valuable art by recreating ordinary behaviors into dance, using space excellently and forming experimental dance shapes. Therefore, it can be said that through analyzing brown's works, we proposed a new direction getting out of limits of arts and provided a direction of essential dance alt to movements of modern dance and choreographic shapes.
Advertisement is composed with symbol and sign with messages trying to express. Especially, ad with dancer introduces goods or meaning of contents with the motion of dance. In this, contents of dance or motion of dancer contains symbol and sign, understanding how ad and dance are expressed meanings with which symbol and the symbolic meaning of dance or dancer on ad. To that end, this study is for analyzing expressed symbol with dance corresponds with the aim of ad and finding the way or attitude of how normal people accept dance by reevaluating symbolic meaning of dance itself. In this study, advertisement producer and director's related data is secured for understanding direction and intention of producer, and previous study related with the study purpose, image, and effect are analyzed for understanding image of dance as a physical sign on TV advertisement. With data from www.TVCF.co.kr. TV advertisement analysis is conducted only with four ads in 2008(Nam Kwang Eng. & Const Co., Lotte Dept. Store(premium sale/gift card), Hyundai Motor Company Santa Fe -Pilobolus) and one ad in 2011(PNS The zone Sash Italy Arena di Verona when dance was used for advertisement with the highest frequency per year. Also, based on considered important factors from repeatedly watching each advertisement, scenes where movement or motion of dancer and screen word is greatly changed are analyzed as a priority. Image analysis of dance is conducted with structure studies based on physical image(line, costume, expression) and dan image(type motion, qualitative feature, mood of dance). As a result, the symbolic dance image appeared in TV advertisement can be discussed as follows. First, symbol and sign of dance on advertisement corresponds with material objects of advertisement. For instance, on the TV advertisement where Lee Youngwoo appeared, his motion as a signifer means challenge for the future of Nam Kwang Eng. & Const Co., with fast turn, jump, assemble turning jump, and sliding. Second, physical image of dancer depending on intention of sender corresponds in general, but there are somewhat differences in image of dance. This makes people to unconsciously recognize symbolic image of dance on TV ad while they watch it at the same time. Especially, when it comes to advertisement, it exposes frequently with broadcasting of organized programs from a broadcaster, living long-time memory. It can be differ based on idea and character of each of receiver. Advertisement is a medium making people naturally adopt cultural art for ordinary people in their lives. Broadcasting public art from TV advertisement widely exposes pure art to people, which was only avaliable for minority, sublimating it as an art of public culture.
The study uses the image technique of the movie (analysis) since there are limited analyses and data of the dance film's (cinematic) grammar. The films are limited to the Wim Vandekeybus's Blush. From the analysis of the one film, films are directed using basic movie grammars. Although the films are of the same genre, it differs from the method of using image techniques as well as the director's personal art preference. The cinematic grammars enhance the effect of the movement and it emphasizes the objectives to deliver the audience true meaning of the films. Dance film is not a simple word combination of dance and film to record new type of art; dance is used for the movie's artistic and aesthetic enhancement. To find out dance is the language and important expressive tool of the dance film, at the same time cinematic grammar enhances effect of dance and objective of the film, the study uses image technique analysis. These are the results of dance film analysis by using image techniques. Firstly, Dance film can transcend time and space. Secondly, The creative director could emphasize some part that the audience should focus on to clearly deliver the intention of the choreographer. Lastly, To popularize the dance genre. If the dance film produces with more diversified stories than the resent, it will be a part of a cultural industry and could create profits. Dance film might lose the sense of realism, which is the main characteristic of the stage art; however it could feel the beauty of the film through the mise en scene.
This study aims to examine the present (Western) modern dance by analyzing the works of three choreographers who are currently at the forefront of the dance scene to identify and understand the current choreographic trend. The three selected choreographers for this study are Justin Peck (USA), Sidi Larbi Cherkaoui (Belgium) and Zach Morris (USA). These choreographers were chosen on the basis of their significant identity within the current dance scene. For analysis, one noteworthy works of each choreographer were selected for video analysis. The result of the analysis illustrates that in the current era of promoting technology convergence in the performing arts industry, the three choreographers approach convergence differently by integrating dance and other mediums in their choreography. Peck converges between ballet and the ordinary, Cherkaoui converges between dance and other cultures and Morris converges between dance and venue.
The theme of this research is the music visualization on stage. As the collaborated work, combining the dance, images with the Isang Yun's music, <Interview with Isang Yun> is showing the staged music, which is expressing the music not only through the sound but also the visualization. In the process of visualizing the music through the body and images on the stage, Isang Yun's musics are recreated in the hand of today's artists. The study found that the recreated work from the new point of view, like Interview with Isang Yun can be the bridge between the composer and today's artists and we can see the future through it. Even though, this paper analyzed the work through the aspects of dance and images, the main theme of the work is focusing how can we deliver the music in the new representative form through formative visualization on the stage.
Radio, the first broadcasting medium in history, is also the first mobile medium that meets the currently mobile ecology based on mobile communications network. As a result, it is easily approachable to consumers, can easily engage individual consumers, and its program contents have a huge appealing power to individual listeners, allowing it to form intimacy with audiences at the closest distance. However, the listening rating of radio has decreased greatly because it has experienced various changes by many other competitive media such as TV and internet and it has been influenced by relative constant hypothesis. Also, radio now faces a bigger competition due to the emergence of smartphone. In this circumstance, radio showed movements to evolve into a digital radio that presents improved sound, strengthened reception power, and increased number of channels, but it suddenly changed to DMB and portable multimedia DMB is having huge problems in its marketability due to smartphone. Yet, the listening rating of analogue radio broadcasting that remained unchanged was 13.99% in 2014, an increase by 47% from 2011, and the percentage of listeners under the age of 18 increased by 2.4 times from 2011 to 2014, which was a unique and interesting phenomenon. Accordingly, this paper compared the characteristics of internet and radio that have the traits of daily life, information, individuality, participatory, adventurousness, alternative media, expertise, and sound media. The paper then examined the listening method of radio, in which the direct groundwave antenna reception through a vehicular device is the most common form during the use of transportation means. Finally, it sought to investigate the future of radio based on the understanding of the increase in radio listening ratings, especially by comparing it to the characteristics of smart generation that focus on smartphone and the internet The study results demonstrated that entertainment and amusements are attempting at changes while they used to be obtained selectively by the smart generation from fragmentary information. In addition, radio is expected to become an influential medium in the future through its advantages of 'selected information' and reliability. However, considering such possibilities, radio needs to build the expertise and reliability of broadcasting contents much more at the same time as its digitalization, and it will be able to have its own competitiveness by focusing on various experiences and cultural exposures.
France owns a unique film production process with the big share of public funding. In its background there is the most developed film support scheme in the world. We consider the French film industry has the fair competition order than any other country. This study follows the French film production process from the project planning to film screening. It looks into various aspects French cinema: production scale of French films, investment/production agreement, actors casting, decision of the film budget, major investors, staffs' wages and collective convention, screening, overseas sales and profit-sharing. It aims to get across the French film industry, especially the film production sector. As a case study, we choose a romantic comedy, Heartbreaker(L'Arnacœur) made in 2010. This study presents a French film industry structure. It will give you some hints to reconsider the existing problems of Korean film industry, for example, screen monopoly, vertical integration of conglomerates, poor secondary market, low earnings rate… etc.