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이태리 패션광고의 고전명화 패러디 표현연구

Title
이태리 패션광고의 고전명화 패러디 표현연구
Authors
조윤경
Issue Date
1999
Department/Major
디자인대학원 광고디자인전공
Keywords
이태리패션광고고정명화패러디
Publisher
이화여자대학교 디자인대학원
Degree
Master
Abstract
하나의 패션 브랜드를 성공시키는 데 있어서 광고는 중요한 요소가 된다. 오늘날과 같이 신문, 서적, 잡지, 영화, TV, 비디오등을 통하여 대량으로 공급하는 광고이미지들 속에서 차별화를 주기란 쉽지가 않다. 따라서 광고의 차별화를 위한 방법이 다양하게 요구된다. 그 표현 방법의 하나로 회화나 순수 미술의 패러디는 중요한 시대적 흐름의 되고 있으며 이태리 패션광고의 고전 명화 패러디는 세계적으로 주목받고 있다. 이태리 패션광고의 고전명화 패러디는 전통적인 예술 감각 위에 원작에 대한 신중한 연구에 따른 완벽한 배경과 구도의 연출, 회화적인 색감의 사진, 철저하게 준비된 소품, 깊이감 있는 터치의 메이크업, 모델들의 진지한 포즈로 완벽에 가까운 재현을 했다는 평가를 받고 있으며 여기에 유행성과 패셔너블 함에 있어서도 성공적이었다고 할 수 있다. 그러므로 이태리 패션광고의 고전명화 패러디를 연구하는 것은 뜻 있는 일이라 할수 있다. 본 연구의 2장에서, 이태리 패션산업과 광고가 세계적으로 명성을 날리고 경쟁력을 갖게 되기까지의 이태리의 예술적인 배경을 미술사를 중심으로, 로마 시대부터 20세기까지 고찰한다. 15세기부터 1990년대에 이르기까지 이태리 패션산업의 환경적, 사회적 여건을 조사하여 고급의류 수출의 제1위국이 된 이태리 패션산업의 발전배경을 알아본다. 3장에서는 패러디의 개념을 살펴본 후 고전명화를 패러디한 광고와 고전명화를 패러디한 이태리 패션광고에 대하여 알아본다. 패러디의 어원을 살펴보면 희랍어인 paradia에서 Para는 <반 하여>의 뜻을 가진것으로 해석됨으로써 패러디를 텍스트 간의 대비나 대조로 정의하게 하는 근거가 되지만 para의 뜻에는 <이외에>라는 것도 있기 때문에 대조가 아닌 일치와 친밀성의 의미도 있다. 결국 패러디의 정의는 어원의 두 의미 사이에 중립적 태도를 취함으로써 차이를 가진 반복이라는 확정된 개념이 정해진다. 오늘날 예술의 대상으로 문화가 대체해 버린 후기 산업사회에 우리가 살고 있기 때문에 패러디는 더욱 널리 번창하게 될 것으로 보인다.;Today the fashion industry and designers of Italy are watched by the world and its foundation may be the country' s deep rooted spirit of art and the craftmanship. Therefore, it is meaninful to make a study of the fine art, fashion and fashion advertising of Italy. Advertising is an essential factor of a successful fashion brand which requires a variety of attempts and methods to realize differtiation. As a means of its expression the expansion into the area of pictures or fine arts is an important trend of the times. Chapter 2 of this study considers, cencerning on art history, deep-rooted artistic disposion that existed since the days of Rome until the 20th centry when the Italian fashion achieved wourld-wide recogntion with competitive edge. In order to look into the factors that made in Italy the number one expoter of high fashion, enviromental and social backgrounds of the development of the Italian fashion from the 15th centry to the 1990s are invesgated. Chapter 3 examimes the concept of parody in order to research it as a series form of criticism of art for recreation as well as creation. Traditionally, many fine artists have adopted the parody technique for their works and such sincere funtion of parody allows wider range of practical category than ridicule. The definition of parody is determined that it is repetition with differnce for its neutral attitude in the two meanings of duality. The differnce at this time is critical distance indicated by irony which can be reduced or mischievous. As we live in the latter indistrial society where has replaced nature as the subject of art, parody is expected to prosper more widely. In advertising the parody of art works may be interpreted from the perspective of the art of industrial society. Reproduction of art seems capable of removing the meaning from the work Reproduced changing or reversing the meaning. The image of a reproduced work can be used for greatly diversified purposes and is used for commercial purpose irrespective of its original meaning. Most kitsch images produced by common popularization and diversification of industrial production correspond to passive and one stories artistic sensiblity of life, short attention span and shallow understanding. This is because they do not require any specific background knowledge or activity and ensure only instantaneous satisfaction. The age of comlumption culture resulting from industrialization grasps our eyes brushing past by enormous amount of materials and images in supply and grants the real value of a famous pictures. This is beause the purchasers watching the advertisement are confused and buy the thing in a momentary hallucination even though it is a kitsch object. The fashion advertising of parodied classical famous paintings is analyzed by Giani versace, typical designer who expressed classical famous paintings in designing and advertising fashion, and the desing world and pictures of advertising of Romeo Gigli. Chapter 4 is analysis of my works where I attemted to graft pictures on fahion advertising keeping in mind the artistic background of Italy that greeted the 2nd fadhion renassance. I observed the religious and humanistic thinking of the middle ages when Giotto was active and the contents, form, composition, materials and colors of his paintting as the background of the parody of my works. Instead of paroding Giotto 's paintings completely my works adopted partial parody by appropriately combining them with fahion images As the background of fahsion expression I examined the current fahion trend important factor in fashion. The fashion trend of 1999-2000 indicates pluralization of expressions and materials due to the end of a century social phenomenon and post-modernism, and fashion designs and fashion advertising show multiculture of the East and the West, ETHNO style generated by a combination of confilicting images(combination of ethic and techno, two-sided aspect and meeting of heterogeneities. Using the end of a century technicality, futurism, two-sided aspect of multicuture I contrasted the solemn religous painting of Giotto in the middle ages with the commercial and kitsch image of fahion. I used photocollage or photomontage to prosess Giotto paintings and fashion pictures for computer composition. After output I sprayed gold and silver material manually to highlight a splendid fashion image.
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