• Cartoon and Animation Studies
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• s.41
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• pp.223-252
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• 2015

Previous literature reviews have provided important insights into social game addictions, but the issue still needs to be examined from other directions such as the distribution of research purposes. For this purpose, 61 papers from selected journals were analyzed by a meta-analysis method. Specifically, this study poses the following three research questions: (1) What are the major of research purposes and methodologies? (2) What are the highly cited articles in studies of social game addictions? Results showed five new findings: (1) the research purpose of most social game addictions studies focuses on investigating the effect, followed by evaluating the influence of social game addictions. (2) Surveys and experimental methods were the preferred research methods, regardless of whether the research purpose focused on investigating or evaluation. (3) Social game addictions studies are most prevalent at the game users, higher education institutions, followed by schools. (4) Social game addictions studies most frequently supports researcher in the professions and applied sciences, followed by humanities, formal sciences and social sciences. (5) The most highly cited articles fall into the categories of investigating the effects and followed by evaluating the influence, designing a model and evaluating the effects of social game addictions. In this regard, this study of issues in social game addictions presents findings that can help supplement linkages with previous studies and forms an important reference base to pursue deeper academic discussions in the current research fields. These results and findings not only to supplement understanding of social game addictions based on different and important viewpoints, but also to provide useful insights for researchers and educators into issues related to social game addictions studies in future.

• Journal of the Korean BIBLIA Society for library and Information Science
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• v.34 no.4
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• pp.303-329
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• 2023

This study aimed to investigate the current state and suggest future directions of children's and young adult literature education in Library and Information Science(LIS) departments in Korean universities. Courses related to children's and young adult literature in 34 LIS departments in Korea were investigated, and in-depth interviews and surveys were conducted with professors and instructors who have experience teaching courses related to children's and young adult literature in LIS departments. The results show there are on average 1.7 courses related to children's and young adult literature in undergraduate programs. 36% of schools had less than one course related to children's and young adult literature, and most of them were Reading Guidance courses. 83%(24 out of 29 people)of the survey participants said they teach children's and young adult literature in their classes. The professors and instructors spent the most of their lecture time on picture books. They spent the minimum time on genres such as SF, Fantasy, and manhwa. Lack of time to teach so many things in short 16 weeks made them feel rushed and distressed. Some survey respondents regarded themselves as non-experts in children's and young adult literature, even though they had competency in that field, which shows the general atmosphere in the LIS field that LIS people are not qualified enough to be experts in children's literature. All interviewees and some survey respondents insisted children's and young adult literature education in the LIS departments should be practical. Professors and instructors tried their best to incorporate diverse teaching methods, including discussions, storytelling, writing reviews, so their students can acquire proper knowledge on children's and young adult library services.

• Cartoon and Animation Studies
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• s.49
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• pp.25-52
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• 2017

As the expansion of the cultural industry expands, various competitive structures are formed and the methodologies for producing commercial success are being discussed. Among them, Hollywood studios use political relationships and apply ideologies that can produce the best interests. Also, they use a structure that can convey this ideology, which is a mythology. The myth has satisfied the public for a ling time. Campbell suggested that strategies come from the myth, and the ideology emerged as a result of what mythology has to do with existing powers. Disney and Dream Works use the mythology and combine their own values into ideology. Disney and Dream Works choose conflicting ideologies in a different growth background. If Disney is recognized as an educational animation by the ruling class, Dream Works are supported by the public for their actions against Disney. Disney has conservative and patriotic personality, Dream Works is more liberal and progressive. Disney's structure came out first, and Dream Works parodied it. So we can compare Disney and Dream Works with similar myths to create a storytelling structure that embodies ideology. As a result, Disney and Dream Works have been choosing the 9 stages the key of Ideology form the 17 stages of the mythology and reduced them to the introduction, growth and completion. In the first units of the introduction, Disney dealt with the subject of social leaders who sacrificed to the ruling class and Dream Works hinted at the overthrow of the ruling class through the irony. If Disney had deployed colored races in the main characters, Dream Works used a variety of races from the main characters to others. In the second units of growth, Disney organized the process of accepting the value of the ruling class, and Dream Works showed the individual values, not the values of society. In the third units completion, Disney showed the main character who live in the world of the ruling class rebuilded, and Dream Works removed the ruling class and went back to the Individual life. Through the structure of Disney and DreamWorks, we learned how to utilize the mythical structures that transform according to ideologies. The right way to organize works will require the strategic approach to storytelling.