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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 저널정보
- 한국미술연구소 미술사논단 美術史論壇 제56호
- 발행연도
- 2023.6
- 수록면
- 33 - 64 (32page)
- DOI
- 10.14380/AHF.2023.56.33
이용수
초록· 키워드
오류제보하기
This research deals with “streamline” as an integral symbol of modern visual culture and “modern” image. Originally, streamline was a form designed to acquire the maximum speed by minimizing the external resistance that is applied to a moving object. The streamline design, which has begun to be used mostly for transportation, exudes a sense of agility with its simple and smooth yet functionally efficient form. Streamline elevated the aesthetic sense of machinery and speed.
The concept of modern “streamline” which began to spread in the 1930s in the United States and Europe, immediately attained global recognition. The streamline design was also introduced to Korea shortly after and became popular during the Japanese colonial period in the 1930s. This study aims to identify changes in perspective and aesthetic consciousness in Korea by tracking the concept of streamlined in Korean newspapers and magazines in the 1930s.
Streamline was recognized as a concise, functional, and up-to-date form and is regarded as an innovative image that represented progress. However, streamline is not a term limited to form; it has also been used more broadly as a concept representing speed, style, trend and newness, that is “the modern”. Streamline became a culturally significant concept during its times. Greatly influencing on a generation it emerged as a type of social and cultural sign that represented the value system prevalent in as well as the changes occurring in the society.
Despite the special circumstances of colonial Korea, streamed models were quickly introduced and became popular, reflecting the desire for modernization and social change toward capitalism. The trend of streamline in the 1930s can be seen as a visual culture phenomenon that occurred in close relations with politics, economy, institutions, military and others. Streamline has become an image and symbol of “modern” as a keyword of the times and it has become a modern myth as a cultural code.
The concept of modern “streamline” which began to spread in the 1930s in the United States and Europe, immediately attained global recognition. The streamline design was also introduced to Korea shortly after and became popular during the Japanese colonial period in the 1930s. This study aims to identify changes in perspective and aesthetic consciousness in Korea by tracking the concept of streamlined in Korean newspapers and magazines in the 1930s.
Streamline was recognized as a concise, functional, and up-to-date form and is regarded as an innovative image that represented progress. However, streamline is not a term limited to form; it has also been used more broadly as a concept representing speed, style, trend and newness, that is “the modern”. Streamline became a culturally significant concept during its times. Greatly influencing on a generation it emerged as a type of social and cultural sign that represented the value system prevalent in as well as the changes occurring in the society.
Despite the special circumstances of colonial Korea, streamed models were quickly introduced and became popular, reflecting the desire for modernization and social change toward capitalism. The trend of streamline in the 1930s can be seen as a visual culture phenomenon that occurred in close relations with politics, economy, institutions, military and others. Streamline has become an image and symbol of “modern” as a keyword of the times and it has become a modern myth as a cultural code.
목차
I. 머리말
II. 근대적 유선형의 등장
III. 1930년대 조선의 유선형
IV. 맺음말
참고문헌
ABSTRACT
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