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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2008.12
- 수록면
- 190 - 210 (21page)
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초록· 키워드
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Of those visual images which could describe the colonized city of Gyeongseong (present-day Seoul) in the 1930s as the term “modern,” “women” was well manifested through the most popularized media. Likewise, common Western/ Oriental mixed elements could be found in Gyeongseong and Shanghai. Gyeongseong showed phenomenon that were very similar to the popular images projected by Shanghai which encompassed elements of an international city although Shanghai became a colonial settlement in the early modern age and was influenced by Japanese colonial rule. Significantly successful were researches on artistic modernism from the perspectives of the history of fine arts system and the history of styles. But research on “modern” from the perspectives of the history of fine arts culture has yet to be activated, and “modern” has yet to be further researched from the interdisciplinary convergence perspectives across social and cultural spectrums.
But the temporal characteristic of women’s images that were created in the urban space of Gyeongseong in the early modern age was not just limited to Gyeongseong; such women’s images held a simultaneous common characteristic in the transcendental area, because in Shanghai, China, as well as Japan which led the development of cutting-edge fashions, the attribute of “modern” emerged as a spatial-temporal phenomenon. The “modern” image of women shown in Shanghai and Gyeongseong could be said as the most common international style of the 1930s. The two cities were very different in terms of the history and size of development, but commonly handled “women” of the early modern times.
To date, the dichotomic distinction between old/new, men/women, colony founding nations/ colonies, center/periphery, and cities/rural areas has dominated the agenda of humanities sciences that argue “modern.” But these efforts have been limited without prompting active discussions. Thus, this study examined how the gestures and poses similar to those of heroines in Hollywood movies that described the Western society were expressed as the desire for consumption culture in the image of women of Gyeonseong and Shanghai. Also, this study examined the international elements of the “modern” style in the 1930s. Accordingly, questioning why the image of women shown in mass media of urban spaces emerged as a universal phenomenon in East Asia, this paper identified the temporal needs of “Oriental classics” that were hidden in the mixed “modern” style that represented the West.
But the temporal characteristic of women’s images that were created in the urban space of Gyeongseong in the early modern age was not just limited to Gyeongseong; such women’s images held a simultaneous common characteristic in the transcendental area, because in Shanghai, China, as well as Japan which led the development of cutting-edge fashions, the attribute of “modern” emerged as a spatial-temporal phenomenon. The “modern” image of women shown in Shanghai and Gyeongseong could be said as the most common international style of the 1930s. The two cities were very different in terms of the history and size of development, but commonly handled “women” of the early modern times.
To date, the dichotomic distinction between old/new, men/women, colony founding nations/ colonies, center/periphery, and cities/rural areas has dominated the agenda of humanities sciences that argue “modern.” But these efforts have been limited without prompting active discussions. Thus, this study examined how the gestures and poses similar to those of heroines in Hollywood movies that described the Western society were expressed as the desire for consumption culture in the image of women of Gyeonseong and Shanghai. Also, this study examined the international elements of the “modern” style in the 1930s. Accordingly, questioning why the image of women shown in mass media of urban spaces emerged as a universal phenomenon in East Asia, this paper identified the temporal needs of “Oriental classics” that were hidden in the mixed “modern” style that represented the West.
목차
Ⅰ. 들어가며
Ⅱ. 경성 미인화 〈凝思〉와 상해 미인화 月?牌畵의 모던 여성
Ⅲ. 시각매체 속의‘모던’여성 표상
Ⅳ. 모던과 동양고전의 혼성
Ⅴ. 결론을 대신하며
참고문헌
Abstract
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