• Cross-Cultural Studies
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• v.22
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• pp.99-123
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• 2011

This paper extracted formal characteristics appearing repetitively in Kim Ji Heon's scenario works making a study of them and examined them from the perspective of the aspects of the confrontation between the author' external environments and the world of his creation. This viewpoint comprehensively implies the two aspects of the acceptance of public needs and the creativity his scenarios have in universal characteristics of the film and scenario community where he made his debut as a scenario writer and played activities most actively. In addition, we investigated how literary features are expressed concretely in the world of his works who has been evaluated as a writer with excellent 'literary value.' His scenario world whose base is humanity and existential questions also performs a function as the reading scenario by realizing one literary perfection in itself and poetic description rather than referential function as a film script, which indicates the aspects of values his scenarios have in the existing creation practice focused on story telling, and especially, in the case of "Manchoo-Late fall" it was found that it expanded the areas of literary value through the beauty of modern form. Through this analysis it is seen that the need was exposed to reconsider problematic recognitions that he was not able to be positioned properly as a writer despite the excellent literary values of Kim Ji Heon's scenarios. This study has a meaning as a start in our research climate where the research on Korean scenario writers is not made in an earnest way but it is necessary to keep making more thorough studies including other scenarios which are not organized into the collection of works, and it is also necessary to make a comparative study with cinematized film texts in our view.

• The Journal of the Korea Contents Association
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• v.11 no.12
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• pp.171-181
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• 2011

This study was conducted to analyze the contents of the e-book and detail the properties of e-book experience. was written by Anthony E. Zuiker who is famous for American TV series C.S.I. is a thriller and is published for the iPad. This e-book provides three levels of interaction within the book. Zuiker calls this e-book a "Digi-Novel". The readers can choose the level of interaction:novel, digi-novel or ultimate digi-novel. The basic background story is the same. So we can compare the difference of reading experience of three levels. Digi-Novel are differentiated from other e-books through their complex characters. Consequently a well-throughout detailed background story is very important for Digi-Novels. In addition, it enrich the reading experience through the interactive elements and multimedia functions of iPad. Readers can interact with clues, manipulate evidence and listen to audio sounds. This serves to immerse the readers much more deeply in the reading experience and makes readers feel like they are a part of story.

• Cartoon and Animation Studies
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• s.34
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• pp.197-217
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• 2014

The 1920s and 1930s ushered in "the golden age" of Chinese comics when the comics flourished. Satirical cartoons in modern Chinese comics were popular due to emotional instability and war caused by foreign powers. Among many popular comics, this paper analyzes in the 1920s and in the 1930s which were made into films and dramas. Chapter Two shows that China in the Republican era of China expanded its consumer culture into some sectors like films, novels, magazines and fashion in the 1920s and 1930s. However, more than any other things, this chapter considers from the historical perspective "the golden age" of comics including comic magazine in the 1930s and a history of comic magazines that gained popularity with conventional and common story. Chapter Three explains that social satire cartoons were in vogue since the May Fourth Movement and anti-imperialistic and semi-feudalistic stories in the 1920s were realized in life. It also says that comics that describes the negative sides of its society were popular. Ye QianYu, a cartoonist, portrayed many facets of Shanghai through : the daily life of the middle and lower classes, bureaucratic corruption and sympathy for the working class. drawn by Zhang LePing describes the unfair social system between the bourgeoisie and the proletariat and the gap between the rich and poor through the main character, the powerless and poor orphan. and lampooned the reality of its time in an objective, witty and humorous way in terms of ethics and economy respectively. The researcher chooses to study and which are very familiar to us, because good cartoons, animations and movies stimulate the feelings about our surroundings.

• Cross-Cultural Studies
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• v.43
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• pp.241-264
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• 2016

The purpose of this study is to devise teaching goals for Liberal Literature Lessons in college through the class . Lots of domestic and foreign novels have recently been turned into films or TV series. As cinematized novels become hits in movie theaters, the original stories ascend to the bestseller list due to the success in the box-office, which proves once again how powerful the visual media is. In this study, 10 works of cinematized literature were explored for one semester in a Liberal Literature class called , aimed at increasing students' interest in novels in the era of digital images. The literary works chosen for the study were novels that had won the Akutagawa Prize, which is given to writers in the field of pure literature, the Naoki Prize, which is awarded in the field of popular literature, and the Japanese Bookstore Grand Prize, which the employees at Japanese bookstores award to the novel they want to sell most. Afterward, a survey was conducted on students in the class to determine their satisfaction with the lectures. Despite the fact that they had little interest in Japanese Literature before taking this lecture, they indicated greater interest in Japanese movies and culture as well as novels due to the class.

• Journal of Popular Narrative
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• no.26
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• pp.413-433
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• 2011

What this study aims is to analyze that how the stories of Prince Hodong are represented in modern historical fictions. The stories have been reproduced in many forms such as TV dramas, films, fictions, plays. It can be depicted that the narratives are indeed national and popular. Interestingly, however, the description of Hodong has not been found in pre-modern documents or fictions. The story began to appear and became popular in 1935 by Yoon Baek Nam. It can be explained that the narratives are the one of the example of the invented tradition since it became visible in modern period. Yoon, Lee Tae Joon, and Yu Chi Jin have constructed the character of Hodong what we are familiar with. Yoon depicted Hodong as a romatic lover with the motif of a lovers suicide. Lee and Yu put a context of nationalism by explaining Nakrang as a Nakrangkun of Hansagun(the four colonies of China). These are pure invention of the writers which cannot be found in The History of Three Kingdoms(三國史記). These characters are closely related with the surrounding of their own society. Yoon shows how the past can be seen as a nostalgic object by modern aesthetic perspective. Lee illustrates the ambiguous thought of a colonial intellectual who (anti)internalizes the ideology of militarism. Yu tries to find the way to recover the muscularity of the nation by re-colouring the memory of the past. These, the representations created in various contexts, make our common knowledges of Prince Hodong nowadays.