현대사진영상학회지(The Society of Modern Photography & video) 논문 분류 및 분석에 관한 연구: 1998-2010

김대욱,임상범 현대사진영상학회 2011 현대사진영상학회논문집 Vol.14 No.-

This research analyzed in yearly published quantity, characteristics of the authors, local area, publishing schools, types and themes of the research theses from 133 theses from the first issue of 1988' to 13th issue of 2010 of 'The Society of Modern Photography & video'. This research was done to understand the trend and flow from 133 theses so that it can present the future theses topics and trends. The year 2010 was a memorable year in regards to The Society of Modern Photography & video having its name officially in National Research Foundation of Korea. The Society of Modern Photography & video is viewed as the first photographic society in South Korea starting from 1988. Fifteen theses were published in 1998 and they were taking the lead compared to Aura that was first published in 1994. Now in 2010, The Society of Modern Photography & video's role has been more important than ever as South Korea's second photographic journal. Generally other professional journals have published ten-year-mark theses based upon analyses and statistics on the trends and flows of the journals and theses that had been published during the ten years. These theses look back in time as well as search ways to improve and innovate the future trends. Therefore, this thesis has also looked into analyses and statistics of The Society of Modern Photography & video, that is now ready for another takeoff, so that it can go forward into a more productive and innovative future.

현대사진영상학회지 논문 분류 및 분석에 관한 연구 2011-2022년

김대욱 현대사진영상학회 2023 현대사진영상학회논문집 Vol.26 No.1

This study analyzed all of the papers published by the Korean Society of Contemporary Photography and Video using quantitative data analysis. However, this analysis is limited to only the Korean Society of Contemporary Photography and Video and may not fully represent the trends and content of the entire field of photography. Additionally, because this analysis was based on quantitative data, it may lack specific qualitative research analysis. In future research, conducting qualitative research based on this current state of affairs through focus group interviews may help to reach the essence of this phenomenon. The results of the analysis of the Korean Society of Contemporary Photography and Video show that a significant change occurred from 2008 to 2010, where the focus of the society's journal shifted from the Yeong-nam region to the metropolitan region. This change can be attributed to the decline of the photography field and the disappearance of local universities. Therefore, the transformation from a nationwide-based journal to a metropolitan-based journal is somewhat regrettable. It was expected that the number of papers published would decrease, but it was found to have slightly increased. In other words, the total research volume has increased slightly. Although there is a shortage of researchers, the number of paper publications has increased to some extent. Looking at the overall trends in research topics from 2011 to the present in the Korean Society of Contemporary Photography and Video, the reduction of video papers and the increase of digital papers can be considered the most significant characteristics. In the case of the Korean Society of Contemporary Photography and Video, the reduction in the field of video has some implications. Additionally, the number of digital papers has been decreasing since 2017.

20 세기 현대사진에서의 남성 누드의 방향성에 관한 연구

현지혜 현대사진영상학회 2000 현대사진영상학회논문집 Vol.3 No.1

‘광양만권 문화예술관광산업’ 전략을 위한 ‘사진영상문화콘텐츠’ 연구

박정희 현대사진영상학회 2007 현대사진영상학회논문집 Vol.10 No.-

The current government established a Presidential Committee on Balanced NationalDevelopment and seeks to create an opportunity for Korea to leap forward again throughRegional Innovation Cluster Policy Coordination Committee. Moreover, the Ministry ofEducation and Human Resources is taking a decisive measure to revitalize the NURI (NewUniversity Regional Innovation) national project. The ministry intends to construct a regionalorganization and strengthen the regional economy by creating competitions among regionaluniversities and building regional industries as well as regional innovation cluster. Thisdissertation focuses on the regional development in Culture, Art, and Tourist Industry of theKwangyangman Belt of Jeon-Nam Providence. Regional history, culture, environment, andecology are all cultural and artistic commodities/services, which we can refer to as culturecontents. Meanwhile, Photography, Video and Visual media, in particular, are culture contentsthat convey the artistic value of the multimedia era, the many regions are commodities tangibleand intangible cultural assets in various forms of digital photography and visual arts products.Constant planning and development are needed in education programs of the photographicCulture Contents R&D, and CRC(Cultur Research Center) in the universities as well as inregional governmental policy for promoting independent localization where each region candevelop based on innovation-oriented growth strategies, while still maintaining its owncharacteristics.

흐릿한 이미지의 담론 분석: 90년대 이후의 현대사진을 중심으로

손영실 ( Young Sil Sohn ) 현대사진영상학회 2010 현대사진영상학회논문집 Vol.13 No.-

This study has investigated the tendency related to the blurred image in the history of photography and then analyzed the photographic discourse, focusing on the photographic works which shows the blurred image explosively increased after 90`s. This kind of photographic image is not totally new but it has existed continuously in the stream of photographic history, Of course, the use of the blurred image in the early times of history of photography is totally different from the recent tendency. The blur as absence of material in the reality becomes an objective and existing material. If clear photograph threatens to construct the world as unachievable object, blurred photograph makes it possible to establish sensitive intimacy as the expression of emotion which accompany the all perception and appreciate the flow of time and compose the interpretation on it, functioning as a bridge between us and admitting our desire to feel continuous with it. If blurred photograph referred to real time and space, it doesn`t make us so painful but this photograph which appears eliminated of the human trace causes insomnia of dissolution. This is why blurred photograph has been isolated from the public for a long time. Sometime the blur evokes the ambiguous emergence of another world which exists itself and extended to margins, This kind of blur does not stay as the formal effect but as a literary evocation, even though it is weak is related to the reflection on the objective nature. The blur in reality is the absence of the object and as a temporary and untouchable trace, it is related to the illusion and question the representation and reveals the tension between the real and the illusion. In this way, blurred photograph which reveals the changed perception of materiality in according to time shows the division between the past and the real, by exploding the real and the memory and recomposing the uncertain relationship. This study has analyzed the effect of blurred photograph as the development of photographic material, continuation of special time and space, blur focused on the reality and reconstruction of the memory. Actually, each effect is not totally isolated but is interconnected. The preference for blurred image can be the indirect way of convincing the right of emotion and sensation over the idea, The blurred photograph evokes the emotion and sensation as the primary quality of life. By analysis, we can conclude that the blur is not the problem of visuality but that of discourse. And blurred photograph as a text is not fixed to the artist`s intention or a fixed meaning but contributes to the formation of the diverse photographic discourses and at the same time affords to the possibility to think about the work by giving a new position that makes the spectator reflect their own experience-ordinary or artistic.

진보의 패러다임에서 조망해 본 대구사진의 미래 : 현대사진영상학회 30년에 즈음하여

이재구 ( Jae Gu Lee ) 현대사진영상학회 2006 현대사진영상학회논문집 Vol.9 No.-

현대사진과 현대미술의 구조적인 관계 연구 - 동시대 사진의 지형을 중심으로 -

김영태,안홍국 현대사진영상학회 2013 현대사진영상학회논문집 Vol.16 No.2

In the early 19th century, the newly invented field of Photography served a practical purpose, but between the 1850s and the 1890s, it became a tool for aesthetic development, as well. During the 19th century, fine art photography absorbed the aesthetics of that period's painting. As a result, there was no distinctive difference in style. From the '10s to the '50s, photography began to acquire a unique aesthetic quality of its own, but even today, photography and painting still co-operate aesthetically. During the 60s and the 70s, modern photography ran headlong into conceptual art, and in an environment characterized by postmodernism, the result has been that the phenomena of pluralism, conceptualization, and individualization have become much more pronounced. The boundary separating photography and art has blurred. Photography has carved out its own place in the centre of contemporary art. After 2000, since digital technology has radically transformed photography,cross-genre started to become a serious force in its own right. This has caused changes in the fundamental photographic conception and aesthetics. This dissertation examines the way in which contemporary photography has changed over the past 30 years, based on its relationship to art. This process is most helpful in understanding the landscape of contemporary photography and photography's future.

현대사진에서의 스냅샷에 대한 의미 분석 1960년대 주요 전시담론의 비교 분석을 통하여

정훈 ( Hoon Jung ) 현대사진영상학회 2017 현대사진영상학회논문집 Vol.20 No.3

Snapshot has a special meaning in contemporary photography. In the 1960s, a new perspective on the ontological characteristics of photography began to appear in a series of photo exhibitions. In this trend, the contemporary meaning of snapshot also began to take shape in the discourse of photo exhibition. “Toward a Social Landscape” by Nathan Lyons was a representative example of a snapshot discourse. Lyons put the meaning of photographic representation in the semantic dynamics of photography with its singular visuality and social environment. He saw snapshot pointing to the perception and thought of the photographer toward the invisible reality. And Lyons considered the snapshot as ‘a authentic picture form,’ the conscious/unconscious awareness of the photographer about society. Above all, his concept of snapshot was consistent with the concept that a photographer captures a photograph as the image of consciousness from his/her perception toward the external world(society). In this system, photographic images always exist in the open semantics.

프로필

학회자료 현대사진영상학회 1998 현대사진영상학회논문집 Vol.1 No.1

사진의 사회학적 접근 연구 : 여가현상을 중심으로 The central point of leisure style

우종철 현대사진영상학회 1998 현대사진영상학회논문집 Vol.1 No.1