‘Age of Image Overload’ or ‘Age of Visual Culture’ are slogans frequently used to describe our present culture. Theorist W. J. T. Mitchell renders the post-1990s as ‘the Age of Pictorial Turn’ and discusses the ubiquity of images. The adva... ‘Age of Image Overload’ or ‘Age of Visual Culture’ are slogans frequently used to describe our present culture. Theorist W. J. T. Mitchell renders the post-1990s as ‘the Age of Pictorial Turn’ and discusses the ubiquity of images. The advancement in media technology has introduced diverse means of production and consumption of images and has reached an average number of one trillion photos being produced globally every year, accompanied by the rapid surge of its consumption and distribution at equal measure. Such ubiquity of images is based on the ease of access to photography and its instrumentality as an optimised symbol. The age of images however, entails the irony of images becoming more dependent on texts. Text is one of the prerequisites for an image to become a meaningful message. In other words, an image acquires its meaning by virtue of accompanied text. And the art of such orchestration is known as ‘graphic design’(art directing). The image in isolation can often seem ambiguous but through the help of text finally acquires clarity as a message. Graphic design provides the concrete layout for the image and text and transforms them into an encoded message. The majority of ‘Age of Image Overload’ or ‘Age of Visual Culture’ are slogans frequently used to describe our present culture. Theorist W. J. T. Mitchell renders the post-1990s as ‘the Age of Pictorial Turn’ and discusses the ubiquity of images. The advancement in media technology has introduced diverse means of production and consumption of images and has reached an average number of one trillion photos being produced globally every year, accompanied by the rapid surge of its consumption and distribution at equal measure. Such ubiquity of images is based on the ease of access to photography and its instrumentality as an optimised symbol. The age of images however, entails the irony of images becoming more dependent on texts. Text is one of the prerequisites for an image to become a meaningful message. In other words, an image acquires its meaning by virtue of accompanied text. And the art of such orchestration is known as ‘graphic design’(art directing). The image in isolation can often seem ambiguous but through the help of text finally acquires clarity as a message. Graphic design provides the concrete layout for the image and text and transforms them into an encoded message. The majority of the publications we frequent is the result of a carefully coordinated layout of image and text, products of graphic design. A magazine designer plans out an optimised way of integrating image and text that meet the vision and goal of the publication. The message is created though the image-text relation and it is for this reason that a dual literacy for image and text is required to appreciate the comtemporary visual culture. Based on these perspectives, the thesis focuses on the image-text relations found in the Korean cultural periodical from the 1970s called The Deep Rooted Tree . The primary reason for the selection is the fact that it was the first publication in Korea to adopt art-directing system which involves all visual aspects of the magazine and marks the turning point of where ‘reading a magazine’ becomes ‘looking at a magazine’. The Deep Rooted Tree adopted the rationalised publication model from the U.S. and devised a visual system consisting of the grid system, typography and advertising, in which photography was one of the primary elements that provided a distinctive visual identity. A magazine is a great medium to explore the visual culture and the publisher’s vision. Photos in particular, are effective summaries of the events, scenary and visions of an era. The Deep Rooted Tree was a clear reflection of the ideology of its publisher, Han Chang-gi. He hired designer Lee Sang-chul and established an unique visual narrative that portrayed the vision of the magazine. The image and text were carefully coordinated within an art-direction scheme and became successful messages. Extending on such nature of the magazine, the research focuses on the image and text relations found in the following five sections of the fifty-three issues from March. 1976 to August 1980: 1. Cover 2. Colour Photo 3. Tertiary Colour Photo 4. ‘The People’s Inheritance’ 5. Spectacularly Eye-Sore Research revealed that specific photo-editing, photo-design and text(caption, ) were used to express the themes for each section. For instance, innuendo and metaphoric narratives were commonly used for the treatment of the images whereas in photo s, the focus was set primarily on establishing a ground for critical debates of its times. The art-direction which orchestrated the image and text within each section was an instrument to express the publisher’s vision beyond a mere graphical exercise. The magazine also provided an example of overcoming the visual dichotomy between the image and text. In other words, the western design model of art-direction was used to reinterpret Korean local culture as well as for its critical reflection in the latter half of the 1970s. Such case for subjective adoption of foreign culture renders The Deep Rooted Tree as an unique example in Korean graphic design in that it purposedly adopted the US publication model to overcome the Japanese publication system which had been inherent in most of the magazines from the 1970s. ，韩语毕业论文，韩语论文 |
