• Journal of Digital Contents Society
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• v.14 no.3
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• pp.367-379
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• 2013

The Media facade is valuing more than utilizing to the display space and has potential as a new urban culture. The possible role of the contents, which can be a variety of expression can be seen that the more importance. Using narrative structure, which is a component of the story, discourse, temporality, spatiality, to analyze to the contents of media façade and this study suggests that new contents of narrative is an appropriate utilization at the new media environment.

• Journal of Digital Convergence
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• v.10 no.11
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• pp.595-601
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• 2012

Narrative art is primarily narrative fiction realistic possibility for human figures into the contents of the work to build the core structure of the narrative, and the most important factor. Constitute the narrative structure of the story, while leading configuration is the subject of the act. Portrait of the artist's work presented in this perspective is the default attitude that gives the order to the drama itself, because it is the drama of aesthetic structure will eventually work through the people in the know. Mixture of aesthetic pleasure and aesthetic understanding of the regular drama is when you think that consciousness is through characters in his works is a shortcut to identify the writers think about the narrative structure.

• 한국HCI학회:학술대회논문집
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• 2009.02a
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• pp.1129-1136
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• 2009

The digital contents industry already heads toward the OSMU(One Source Multi Use) method of media. In case the success of the original novel recreates to a movie, the success of a movie is again noticed with the original novel. For this reason, a novel and movie are open at the same time, In this paper, we analyze through the case study of three fantasy films having the narrative structure of the germane myth : The Lord of The Rings, Harry Potter, The Chronicles Of Narnia based on the analysis basis : Hero's Journey 12 steps by J. Campbell, The analysis of scenes of each film visualizing the narrative structure of a novel can be used as the basic materials in the process of visualizing the scale of the original and message of a writer, we consequently believe that these analysis will be able to be applied the appropriate visual techniques (the special effect, the scene tractions, and etc.)in visualization of films.

• 한국HCI학회:학술대회논문집
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• 2008.02b
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• pp.527-533
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• 2008

본 연구는 기존 RPG에서 주요한 재미 요소로 기능하던 성장 모티프가 MMORPG(Massive Multi-user Online Role Palying Game)에서 어떤 식으로 변형되어 나타나는 지 살펴본다. 성장과 역할 수행을 통해 재미를 얻는 게임인 MMORPG는 성장 서사에서 많이 나타나는 구조인 여정형 혹은 탐색형의 구조를 보편적으로 차용하고 있다. 그러나 기존 서사물에서 성장 모티프가 정체성 찾기와 같은 내면적인 변화를 나타내기 위해 구조를 차용하는 반면, 게임에서는 위의 구조를 통해 얻은 성장의 결과물을 수치의 증가나 외적 형태의 변화를 통해 나타낸다. 즉, 경험치나 아이템을 통해 성장이 수치화되어 나타나는 것이다. 이는 여정형 탐색담이라는 성장 서사의 보편적 구조에서 게임적인 특수성이 더해진 것이라 할 수 있다. 성장 소설만의 서사적 유형이란 바로 주인공의 변화 양상이 미숙에서 성숙으로, 불완전에서 완전으로, 결핍에서 충족으로 변화하는 과정을 담고 있는 이야기적 특질을 의미한다. 그러한 미숙하고 불완전한 존재가 변화하게 되는 계기와 과정, 그리고 그 결과로 구조화된 유형적 특질을 갖고 있는 소설 양식이 성장소설이라 할 수 있는 것이다. 이러한 구조화된 유형적 특질은 신화나 민담에서는 탐색담이나 여행담으로 나타난다. 게임에서의 성장은 캐릭터의 성장과 직결된다. 본격적으로 플레이어와 동일시되어 성장을 대리 경험적으로 체험하는 것은 D&D 온라인을 거쳐, 현재 MMORPG의 형태를 구현해낸 울티마 온라인이 이후부터이다. 세부적으로 구현된 세계와 온라인을 통해 생성된 방대한 네트워크 안에서 플레이어는 자신과 동일화된 캐릭터를 플레이하면서 대리경험을 하게 된다. 즉, 플레이어가 캐릭터의 성장에 작용하는 여러 가지 변수를 선택하고, 조작해가면서 자신만의 캐릭터를 생성해 나가면서, MMORPG가 구현하는 게임 세계에 구성원이자 일원이 되는 것이다. MORPG는 기존의 RPG의 선형적인 성장에 비해 복합적인 양상을 보여준다. 문화에서의 성장 서사에서 일반적으로 발견되는 여정형의 탐색담은 개발자 서사인 배경 스토리에서 나타나며, 레벨시스템과 이에 따른 공간의 배치에 따라 플레이어에게 직접적인 영향'을 끼친다. 영속적인 세계와 플레이어 간의 상호작용을 통해 일어나는 사용자 서사는 완결된 형태의 캐릭터를 무의미하게 만든다. 플레이어는 비선형적인 성장을 끊임없이 계속하게 되는 것이다.

• Journal of Popular Narrative
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• v.27 no.3
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• pp.151-191
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• 2021

This paper examines what is the content of Gusan's urban identity, represented by the film and how the contents and aspects of this city's identity interact with the structure of the films' discourse. weaves Gunsan and Seoul into continuously reorganized cities based on an interactive relation, rather than literal ones. Seoul in which the time for a film narrative is closed is converted into the starting point for tour to Gunsan. The both points in which audiences' ex post return occurs are the starting point for the time for the film discourse and the other point in which the title is suggested. The journey-type of the narrative structure in this film is a3-dimensional spiral-shaped, rather than a 2-dimensional circular regression. embodies the characteristics and the identity and apriority of two cities, based on such a spiral-shaped temporal and spatial structure. Seoul severs the relation between grand narrative/collective memory and small narrative/individual memory as an agnostic one, in other words, it is a city that cuts off cities, relations and memory and rejects the continuity of memory. On the other hand, Gunsan is a city in which both grand and small narrative and collective and individual memory coexist and both split and isolated mind are cured and mutually consoled. It describes Gunsan as the surplus space as a being for others, while expressing its identity as robust and literal thing. The film describes it as the field in which oppositional concepts such as historical interruption and continuity and spatial being for others and originality become 3-dimensional spiral ones, through the reciprocity between the narrative and the discourse structure. This paper has an implication, in that it examines how temporal and spatial relationship constituting the urban identity interacts with the structure of the film narrative.

• Journal of Korea Entertainment Industry Association
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• v.14 no.7
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• pp.287-298
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• 2020

The purpose of this study is to analyze the narrative structure and types of films that has attracted more than 10 million viewers ('10 million films') among films released in Korea, and deal with the implications of the current Korean film industry. To this end, this study investigated the relationship between films and their narrative as a product of the film industry. To approach this, We dealt with the features of structuralist analysis and archetype or mythological narrative analysis. For a detailed analysis, a total of 27 films of "10 million films" were categorized using Northrop Frye's original narrative analysis method. As a result of the study, 13 comedy structures, 7 romance structures, 4 tragic structures, and 3 irony and satire structures. It was confirmed that the "comedy" and "romance" structures had a high percentage of all 10 million films, and occupied the top ranks in the box office rankings. In conclusion, this study confirmed the narrative rules and customs of films hitting Korean box offices, and through this, it was possible to examine a rough topography of the film consumption of the public in the Korean film industry. This can be said to provide a clue as to how the narrative of the film should be constructed when producing a film from an industrial perspective.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.111-119
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• 2019

Time and space are the foundations of all the narrative. As the aim and content of narrative, spatial narrative plays an increasingly important role in the narrative movies. With the development and application of digital technique, the expressiveness of movie space is enhancing, and spatial narrative has become the focus of directors and critics. As a developing cinematic narrative form, spatial narrative is taking advantage in many aspects, including narrative structure, narrative effect, creative skills and audience acceptance, which can bring breakthrough and innovation to the creation of cinematic narrative. Based on the spatial theory in movies, the paper analyzes the space presentation approaches in the movie Hugo. Combined with the motivating factors, structure factors, symbolic significance and psychological factors of narrative space, the paper specifically analyzes the significance of spatial narrative in American movie Hugo. By researching the glamour of narrative space in the movie, the paper intends to provide certain reference value to the narrative expression of the movies today.

• Proceedings of the Korea Contents Association Conference
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• 2013.05a
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• pp.81-82
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• 2013

주로 만화를 기반으로 하는 할리우드 슈퍼히어로 영화는 이미지 위주의 인물서사에 의존하는 경우가 많다. 하지만 이에 반해 소설을 기반으로 하는 슈퍼히어로 영화의 경우, 인물서사 보다는 사건 위주의 서사로 이야기의 흐름이 진행되는 경우가 대부분이다. 이러한 차이는 만화원작의 할리우드 슈퍼히어로 영화와 소설, 특히 고전소설을 원작으로 하는 국내 슈퍼히어로 영화에서 흔히 발견할 수 있다. 이에 본 논문은 국내 슈퍼히어로 영화의 서사구조 특성은 무엇이고 또한 그 한계는 어떠한 것이 있는지, 영화 <전우치>를 통해 분석해 보았다.

• The Journal of the Korea Contents Association
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• v.7 no.6
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• pp.119-126
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• 2007

As the digital environment expended, concern about importance of narrative and its value has been increased. But detailed study regarding narrative analysis leaves much to be desired. Most studies on animation narrative structure are focused on Japanese and Disney animation of America, shot films in particular. Plus these have not been done by the comparative method but separately by product. This study aims at clarifying the peculiar narrative characteristics between Chinese and American animation through the comparative analysis about s, which are produced in the respective countries, China on behalf of High-context culture and America as the Low-context culture.

• Journal of Digital Contents Society
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• v.11 no.2
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• pp.185-194
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• 2010

The digital contents industry already heads toward the OSMU(One Source Multi Use) method of media. In case the success of the original novel recreates to a movie, the success of a movie is again noticed with the original novel. For this reason, a novel and movie are open at the same time, In this paper, we analyze through the case study of three fantasy films having the narrative structure of the germane myth : The Lord of The Rings, Harry Potter, The Chronicles Of Narnia based on the analysis basis : Hero's Journey 12 steps by J. Campbell, The analysis of scenes of each film visualizing the narrative structure of a novel can be used as the basic materials in the process of visualizing the scale of the original and message of a writer, we consequently believe that these analysis will be able to be applied the appropriate visual techniques (the special effect, the scene tractions, and etc.)in visualization of films.