• Korean Institute of Interior Design Journal
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• v.23 no.1
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• pp.61-68
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• 2014

Recently, there have been increasing attempts to pursue and express feelings such as sensibilities, emotions, and impressiveness in commercial spaces. One of such methods is to apply 'storytelling' to space designs. Applicability of storytelling to a space suggests that the contents of a space can be expressed through various mediums. Portraying events and situations through a single time continuity of a story is referred to as 'narrative'. The movement of users and sequence of contents are determined by a narrative. It provides different storytelling and a sense of place to each space through various roles, such as wide association, engraving, and image formation. A narrative can lead users to engage in different perceptions and behaviors even in spaces with the same content. Thus, this study is intended to examine the impact of space marketing in line with design narratives, assuming that narratives of commercial space designs will influence the formation of brand identity. The research methods are as follows. First, the definition of narratives in space design was established by examining narrative architectures. Second, design analysis tools for commercial spaces were established from the perspective of narratives through preceding studies. Third, the design narratives of different shops under the same brand were comparatively analyzed through a case study. To carry out a case study, a commercial space of 'O'sulloc' was selected, and its brand identity was studied from the narrative standpoint. The case study involved interior designs of 7 road shops of 'O'sulloc.' Among the 7 road shops, two of them with the biggest difference in design narratives were selected, and an observation survey was done on the users as a second analysis. Through the observation survey, actual design narrative experience was analyzed in 4 steps of introduction, development, turn, and conclusion. The findings are as follows. The design method of each shop varied, and different design elements were emphasized. Among various elements, the ones that reflect the brand identity of 'O'sulloc' the best were logo, product, and shape. During the process of narratives, the characteristics of each shop and user recognition and behavior varied depending on the degree of emphasis on a particular element. It suggests that space design narratives can influence the formation of brand identity. This study provides ideal directions of developing space designs necessary for forming brand identity from the standpoint of Korean traditional culture modernization. Future studies could discuss the economic feasibility of such designs.

• Journal of Digital Convergence
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• v.17 no.1
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• pp.337-345
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• 2019

In this study, it focused on observational documentary based on observation. This study comparatively analyzed how differently the narrative style is implemented depending on the social and cultural background of East and West by analyzing the narrative style of Frederick Wiseman, a representative director of observational documentary who has been active in foreign countries for a long time, and Lee Seung-jun, recently become active in Korea. As a result of the analysis, It might be too early to judge by simple comparison of two directors, but it became an opportunity to see the difference between the long-standing observer style and the observer style documentary which actively accepts the new form. While it cannot be simply judged which style is better between the traditional observer style which shapes the simple contents into conflicts in the sequence structure and the recent style which sublimates the human inner conflict into the drama, a side could have been seen that the diversity is attained. It can be judged that the traditional documentary film can be gradually changed later. It was found that the documentary can emerge from the logic that it is difficult and boring, and that the same theme can be various and creative depending on what style is chosen.

• Cartoon and Animation Studies
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• s.49
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• pp.221-246
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• 2017

Visual narrative or storytelling involve two important aspects of the cognitive perception: the conscious and subconscious. Color is one of the cognitive storytelling elements, its interpretation is captured by the subconscious and it is considered an emotional resource due to its psychological background. On the other hand, the character is also part of cognitive perception and storytelling tool, but this is interpreted consciously, character is considered as a logical resource. Ghibli and Disney have organized their cinematographic techniques in different ways, so it would be unfair to say that one narrative style is better than the other, it depends of perception of beauty which varies according to society. However the present study seeks to determine the differences between Ghibli and Disney narrative style, taking as reference color. Ghibli and Disney are perfect example about color effects as a storytelling agent, It can be classified in two aspects: dynamics of color and color as a narrative sequence. The dynamics of color analyzes how color acts and is perceived into a stage, its meaning and symbolism regardless of the character's actions. The narrative sequence studies how color thermologic evolves in scene's development.

• Journal of Korea Entertainment Industry Association
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• v.14 no.7
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• pp.309-318
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• 2020

This research studies the specific cases of how Hayao Miyazaki re-arranges Hollywood's conservative storytelling model, such as the three-act, eight-sequences structure, and the use of antagonist and antagonistic force, and how he applies them into his fairytale-like narratives to increase the attention of the audience. At the same time, this research also studies the cases of how fairytale-like characters of Miyazaki's storytelling make up for the drawbacks caused by the re-arranged narrative structure and the relationship between the characters, to make the audience keep track to follow the protagonist's journey. This research focuses on the re-arrangement of the three-act structure and the eight-sequences structure. For the details, this research focuses on the alternative use of antagonistic force in My Neighbor Totoro and the cases of antagonists turning to the protagonists' side around the mid-point in Spirited Away and Howl's Moving Castle. Also, the study shows how Miyazaki expands the second act (the third to the sixth sequence) and shortens the third act (the seventh to the eighth sequence) to earn the time for the audience to be in the same position with the protagonist, and how the fairytale-like characters of these films make up for the disadvantages caused by the shortened third act.

• Cartoon and Animation Studies
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• s.15
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• pp.251-265
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• 2009

Motion Graphics are a great effective vehicle for precise communication between customers in various media and formats. The important thing in the expression of Motion Graphics is to deliver messages clearly. Some current Motion Graphics which are focused on only attracting attention or sensational expressions more than narrative are evaluated lower. This study aims to utilize easy and positive Motion Graphics to deliver messages by applying their utility to production of Motion Graphics, omitting time spent on delivering effective messages and analyzing their suggestive expression methods because of the nature of producing Motion Graphics. This thesis is to study several theoretical backgrounds of omission and implicated expressions mentioned in the similar studies from the view of Motion Graphics, and to search applied examples and functional things using the expression methods in some film title sequence. Excellent Motion Graphics use planned omission and implicated methods rather than to use entire narratives or complicated descriptions. Especially, a film title sequence should focus on symbolic visual expressions. They are necessary to attract the audience's interest. To overcome the limitation of time and space deliver a huge amount of information quickly and powerfully, Motion Graphics should properly use omission of image and time and suggestive expressions through symbols and metaphors. Then they will have a role to level up their current values and discussions.

• KIISE Transactions on Computing Practices
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• v.24 no.3
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• pp.138-144
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• 2018

A video is a vivid medium similar to human's visual-linguistic experiences, since it can inculcate a sequence of situations, actions or dialogues that can be told as a story. In this study, we propose story learning/regeneration frameworks from videos with successive event order supervision for contextual coherence. The supervision induces each episode to have a form of trajectory in the latent space, which constructs a composite representation of ordering and semantics. In this study, we incorporated the use of kids videos as a training data. Some of the advantages associated with the kids videos include omnibus style, simple/explicit storyline in short, chronological narrative order, and relatively limited number of characters and spatial environments. We build the encoder-decoder structure with successive event order embedding, and train bi-directional LSTMs as sequence models considering multi-step sequence prediction. Using a series of approximately 200 episodes of kids videos named 'Pororo the Little Penguin', we give empirical results for story regeneration tasks and SEOE. In addition, each episode shows a trajectory-like shape on the latent space of the model, which gives the geometric information for the sequence models.

• Journal of Digital Convergence
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• v.12 no.9
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• pp.343-351
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• 2014

This study poses questions on the role of a movie sequences partially deployed in the comic strips style in the movie. Though both the movie and the comic strips's image is expressed in the flat space, it is different to the reciever's manner in the interpretation of the media's narrative. Comic strip has a media's characteristic of the aggressive interpretation. It can be create the objective and critic point of view for an audience as the visual style in the ideology movie. Comic strip Style has a flat frame, a form of comic strip's mise-en-scene, montage and camera working. This paper studies expression of 'La Chinoise' using 'Comic strip style' for the objective point of view.

• Trans-
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• v.7
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• pp.81-101
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• 2019

Interviews are so important and meaningful that it is the heart of the documentary. In narrative film, it is focused as the story discourse, whereas documentary is strong in disclosure, which consists of narration and interview. In a TV documentary, interviews use conventional shots repeatedly, whereas in a documentary film that targets a relatively large screen, the interviewer's Mise-en-scene should consider the aesthetic depth. , which released in 2017 and used the audience for the third time in documentary film history, tries to make 40% of the volume of the main volume equal to the same angle. In a TV documentary, it is not uncommon for an interview cut to exceed 30 seconds, and if it exceeds 1 minute, immersion is significantly lowered, so the a mount and compression of the interview disclosure is important for both the director and the audience. In the case of the interview sequence of , it was the key to communicate the sub-plot with a relatively focused with long discourse, which is at least 8 minutes and 30 seconds to a maximum of 11 minutes, in a way that allows the audience to communicate. Furthermore, it was produced after the death of the protagonist Roh Moo Hyun, with the limitation that the voice of the protagonist was excluded, and the voice of Roh Moo Hyun was indirectly reproduced through the surrounding characters. In this study, it covers the meaning and scope of interviews in the production of documentary, and the aesthetic applications of the Mise-en-scene.