• Korean journal of communication and information
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• v.57
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• pp.109-136
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• 2012

This research analyzed the news coverage of controversy over Korean resumption of Wartime Operational Control from the United States in 2006, trying to find various narrative frames and their relevance to the characters of journalistic interpretive communities. Three competitive frames emerged: Self-national defense and peace making, Balance of self-national defense and the Korea-US alliance, and Priority of the Korea-U.S. alliance and national security. Journalistic discourses were also analyzed through the in-depth interviews of 14 journalists from three interpretive communities. The results revealed that competitions of narrative frames reflected the tensed relationship among political power blocs, each representing the liberal, moderate, or conservative camp of Korean society, and preference of journalistic practices such as objective journalism to advocacy journalism. Finally, inferences were made that the clashes among interpretive authorities, existing behind the competition of news frames, restrained public deliberations on a critical incident regarding national security by blocking up the reasoned news coverage of political controversy.

• Cartoon and Animation Studies
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• s.36
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• pp.1-17
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• 2014

The purpose of this study was to identify ironic characteristics that appear through ironic reversal in formal aspect and foreshadow structure examined through the progression stage of irony within the narrative structure in contents aspect. This study is intended to research how ironic expressions is embedded in latest full-length animation created by major animation production companies in America, such as PDI Dreamworks and Pixar. As identified in this study, the irony can be defined into two categories. First, Irony appears dramatically in a last scene through the process of prediction and implication after setting up a situation. It delivers laughter as it is mainly used to portray characters or to set up backgrounds for incidents. Secondly, foreshadow that appeared in the early part of animation in relation to irony was revealed with a surprising twist with the cause-and-effect relationship in the middle or end of the play. The irony strengthens dramatic elements and was used to make the story richer. By analyzing two american full-length animation films, various consecutive ironic expressions in narrative, which is the reversal irony in continuous scene or irony used with foreshadow were identified.

• Proceedings of the KAIS Fall Conference
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• 2011.12a
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• pp.89-90
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• 2011

본 논문은 리얼리티를 기반으로 하고 있는 서바이벌 프로그램의 장르적 특성을 통해서 미디어 문화의 특성에 대해 살펴보는데 목적을 갖고 있다. 서바이벌 프로그램의 장르적 특성과 구성 형식은 기존의 해설적 양식의 프로그램에 비해, 수용자의 직접적인 상황의 체험을 통해서 전달되는 내러티브 구조는 실재의 상황을 전달함으로 수용자에게 직접적으로 투영되는 것으로 분석된다.

• The Journal of the Convergence on Culture Technology
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• v.4 no.3
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• pp.75-86
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• 2018

Desktop Documentary is a new documentary mode which uses a screen capture technology to complete the multitasking process of the creator who searches in the Internet Open Archive instead of shooting with a camera and remixes the selected multimedia contents using a computer interface. In this paper, we explore the desktop documentary that transforms potential archives into database narratives in the new media environment, converts cinematic mise-en-$sc{\grave{e}}ne$ into computational mise-en-interface, and transcends the boundaries between creation and criticism through creative mechanism as curation through stream of consciousness. We also examine the concept, type and characteristics of the desktop documentary which emerges since 2010s as an experimental attempt of new media art, a new hybrid genre of mainstream horror film, a new mode of fiction film, a new mockumentary style, and a new form of video essay and audiovisual critique.

• The Korean Journal of Archival Studies
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• no.31
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• pp.3-42
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• 2012

This paper considers some possibilities of community archives by exploring the concepts ans meanings of archival description. The author deals with two interesting cases -Herstory Writers Workshop Collection of Stony Brook University in New York and Poolmoo Collection of Poomoo Agricultural School in Korea. The author argues that archivists should know the specifications of Community Archives related to National Archives when they organizing and preserving records and archives of community archives.

• 한국HCI학회:학술대회논문집
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• 2009.02a
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• pp.1198-1207
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• 2009

최근 WEB 2.0 환경을 통해 사용자는 직접 응용 프로그램과 데이터를 이용하여 새로운 컨텐츠를 생산하는 주체로 변모하고 있다. 이러한 사용자의 자발적이고 적극적인 참여는 'UCC(사용자 제작 컨텐츠)'라고 불리는 새로운 문화 컨텐츠의 활성화로 이어지고 있다. 특히 글과 그림, 소리 등이 총체적으로 엮여 있는 동영상 UCC 의 경우, 이야기 구조나 캐릭터가 갖는 내용적인 특성과 제작자의 제작 취지를 훼손없이 살릴 수 있다는 제작의 특성으로 인해 WEB 2.0 환경에서 사용자의 참여가 더욱 두드러지고 있다. 본 연구에서 '사용자들이 열광하는 동영상 UCC 는 어떤 특징을 갖는가?' 라는 질문에 답하기 위해 동영상을 시청하는 사용자의 몰입과 창의성 평가를 진행하였고 이에 영향을 주는 요인으로 동영상 UCC 를 구성하는 내용적인 특성인 이야기의 내러티브와 캐릭터의 과장성을 살펴 보았다. 그리고 이 요인들의 상호작용에 영향을 주는 매개변인으로 제작자의 제작의도에 따른 컨텐츠의 특성을 선정하였다. 제작자의 의도에 따른 컨텐츠의 특성을 분류하기 위해 라캉의 주체이론과 퍼스의 기호학 이론을 바탕으로 모형을 제안하였으며 이를 검증하기 위해 UCC 사용자들을 대상으로 현재 서비스 중인 동영상 UCC 를 보여주고 설문을 실시하였다. 연구결과 제안하는 모형의 적용가능성이 입증되었으며 제작자의 의도에 따른 컨텐츠의 특성에 따라 이야기의 내러티브나 캐릭터의 과장성이 사용자의 몰입과 창의성평가에 미치는 영향력이 다르게 나타나는 것을 확인할 수 있었다.

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.83-91
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• 2019

Gameplay exists not only in game activities, but also in other art forms. An animated film with strong gameplay whose gameplay narrative follows the presupposition principle, achieved through unimaginable sound effects, exaggerated visual styling, hypothetical time and space concepts, fictional storylines and character performances. The strength or the presence or absence of gameplay in animated films is reflected in the grasp and use of these gameplay elements in the process of animated film narratives. The gameplay narrative of animated films fully utilizes the characteristics of gameplay thinking. In the process of scriptwriting and narrative, it combines entertainment, action, adventure, competition and other elements to fully reflect the characteristics of "gameplay". Gameplay narratives often use the strategies of reverse setting, repetition and interaction, and rules and challenges setting, which not only enhances the fun of animated film narratives, but also attracts the attention of the audience, which then can enhance the audience's viewing experience.

• The Journal of the Korea Contents Association
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• v.20 no.2
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• pp.141-149
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• 2020

In this paper, I studied the relation between narrative construction (especially focusing on motif) and humor mechanism based on binge watching environment. Several motif theories such as B. Tomachevski, Horst and Ingrid Dämmrich and S. Chatman are used as a basic study method in chapter II. In popular sitcom , sometimes kernels(according to S. Chatman's term) in certain season's story are changed into satellites(according to S. Chatman's term) in other season's stories. The motif of Ross and Rachel's conflict is a representative example for this switching process. Especially on binge watching environment, as the interval length is much more shortened, viewers tend to reflect their own emotional memory into characters less strongly than segment watching environment. As a result, the possibility 'heavy' stories such as seperation are quickly changed into 'light' humorous matters is increased. This kind of hierarchy variation of repeated motif make the viewers laugh, because they can feel sudden liberating energy by eliminating psychological pressure. It means the characteristics of sitcom's humor on binge watching environment can also be explained by the theory of 'laugh as a eliminating tension', which I. Kant representatively said.

• Journal of Digital Convergence
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• v.14 no.11
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• pp.489-494
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• 2016

Stop-Motion Animation is the work that gives lives to the objects. In order to give lives to objects and to form story line to persuade the audience, it is important that the reason of choice of color, material, and texture has something to do with the narratives. For this study, among the Garri Bardin's animation, the ones with good representation of the objects have been chosen: Conflict (1983), Fioritures (1987), and Adagio (2000). With these animations, I would like to look for the meaning of existence of the objects, and to consider the importance of the relationship between the types of objects that are represented and the narratives.

• Cartoon and Animation Studies
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• s.32
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• pp.245-261
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• 2013

This paper analyzes films by director Tarsem Singh in relation to the theory of the sublime. The medium of film works in dimensions of both spectacle and narrative. Tarsem's strength mainly comes from spectacle. The visual style of Tarsem is unique and undeniably beautiful, but in a strange and magnificent way, rather than sweet and pleasant. If you accept the premises of Kant and Lyotard that the beautiful is a positive pleasure and the sublime is a negative pain, Tarsem's spectacle is certainly closer to the sublime than the beautiful. The Fall proves the director's ability in both spectacle and narrative. The spectacle of this film is so overwhelmingly huge, and vivid, it easily surpasses spectators' maximum capacity of imagination, which leaves the spectators in awe. Spectacle tends to hinder thinking thus obstruct the flow of narrative, but at the same time it blocks rational suspicion about the narrative. The spectacle of the Fall works as the power to immerse the spectators into the internal logic of the film. Since the spectators are deeply moved by the spectacle, they willingly follow the narrative of the film, the tragic adventure of the heroes which again gives the audience deep catharsis.