• The Journal of the Korea Contents Association
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• v.20 no.6
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• pp.64-76
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• 2020

This research wanted to examine what narratives and discourse were being formed in web drama contents young generations were going crazy about. To understand the characteristics of such love epics and to know what narratives were being formed based on narrative structures and comments, this research specifically used the web drama produced up to the season 4 for the first time in Korean web drama history with a large number of accumulated views. It was found that the narratives of the drama composed the romantic relationships of four couples as independent episodes, and realistically highlighted separations and reunions of those couples, and suggested concrete methods to solve agonies and conflicts they would experience in such relationships. And, in user comments, there emerged relational narratives confusing friendship and love between partners of opposite sex, narratives regarding the third person as enemy, and narratives on typical sex roles in such romantic relations. And, the culture seeking subjective love style and sharing and sympathizing with the love histories also appeared.

• Journal of Digital Convergence
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• v.20 no.4
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• pp.553-563
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• 2022

In the multimedia era and contemporary art, the expression of narrative is expanding in various ways based on formal theory. And the expression form is maximized according to the use of each medium. In terms of understanding artworks, an approach that combines various expressions and media using these narratives is also possible. Therefore, this study analyzed the works of the artists by selecting three artists, Sadic Guissi Alfrazi, Lindsay Sears, and Kara Walker, who fused the media using narrative structures. Through this, it was intended to present the artistic value and significance of the work and the possibility of expanding the narrative expression of contemporary art in the future. As a result of the analysis of previous artists' works, it was shown that the phase of convergence can be derived by using the medium of narrative concepts beyond the dichotomy of content and form, confirming that digital technology and media development are changing the form of art. In addition, it was confirmed that the use of narrative structure facilitates media conversion. It is expected that discussions on the new paradigm of contemporary art will progress in the future.

• The Journal of the Korea Contents Association
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• v.8 no.8
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• pp.119-127
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• 2008

The object of this study is to find ways of a creation and an usage of cultural contents, based on the survey of the culture archetype facts, the culture elements and the narrative structure of 'Geotagi folk tale'. This story takes its place as our cultural archetype, because of its perfect narrative structure and the myth-like features in the story line. Additionally, various cultural elements implied in the text have the world wide universality as well as the unique traditional characters of Korea. Thus, for above reason, 'Geotagi folk tale' can be helpful in creating the new cultural contents. In creating and using the cultural contents of 'Geotagi folk tale', the first way is to build up the Digital contents including the data base of the original text and others, and the creation of graphics. The second way is to create the story bank utilizing hypertext. The third way is to make flash animations or games concerning the folk tale. and the fourth way is to to develop the symbols of the folk tale as animation characters.

• Cartoon and Animation Studies
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• s.33
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• pp.223-246
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• 2013

Even though cartoons and narration comics were born from different origin, they have been called by names such as 'cartoons' or 'comics'. The reason can be found in the similarity of cartoons and narration comics. The similarity of cartoons and narration comics is the genre consisting of writing and drawing. Writing can be the format of expression and it can represent the story. Such story is present as a component of 'narration'. Sub genre of comics includes cartoons and narration comics. It includes animation in a broad range. In cases of narration comics and animation, it is thought that narration is present with continuity of time. However, in case of cartoon, because one or two cuts without continuity of writing are frequently expressed, it is being asked whether narration is present. It is easy to be reminded of epic or chanson de geste whenever you hear 'narration'. Since it deals with a biography of the character, we think the concept of 'narration' with temporality. However, narration provides a certain event in a broad range. Thus, cartoons presenting one event with the image may have the existence of narration, because description of multiple scenes of narrative comics can be implicitly represented in cartoons. As such implications leave a space, the empty space can be filled by active reasoning of recipients. However, nevertheless, it is very difficult to find studies as well as mentions of narration in cartoons. Thus, in this paper, we investigate the concept and structure of narration and demonstrate the presence of narration in cartoons. First of all, we looked at the narration theory in literature before studying narration in cartoons. The reason is that we thought the approach to the literary theory was required in order to investigate the basic elements, since cartoons are a collection of writing and drawing. We were focused on the prerequisites of narration presented in "story and discourse" of s. Chatman. If the prerequisites of narration are present, we can assume that the narration is present. The prerequisites are 'narration reasoning', 'screening', 'consistency', 'process statements' and 'stasis statement'. As s. Chatman described them as prerequisites of narration, he analyzed the narration structures of films and novels. In addition, we revealed that the narrations were present in cartoons as we identified how prerequisites of narration presented by Chatman were presented and expressed through "vocabulary of comics", "Timeframe" and "life in the line" described in "understanding comics" by Scott McCloud.

• Journal of Korea Entertainment Industry Association
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• v.14 no.1
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• pp.75-89
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• 2020

As Marvel Cinematic Universe (MCU) Phase 3 concluded in 2019, it is time to systematically analyze the phenomenal storytelling of the franchise. In order to identify the structure of the continuous stories focusing on 'Iron Man', the central character of MCU Phase 1-3, this study used the "Save the Cat (STC)" paradigm as the tool for narrative analysis. The eight films with 1,066 minute-run time in total was analyzed based on the 15-beat STC paradigm by adjusting the distance ratio between each beat of its prototype originally based on standard films of 110 minute-run time. The results reveal that all 15 beats of the combined texts were fairly properly discovered in the positions suggested by the adjusted STC paradigm. Moreover, through the investigation, the vast text was able to be analyzed in a more comprehensive manner in the process of reconfirming the meaning of the dramatic reversals corresponding to each beat against the entire narrative. As expected, the STC paradigm proved to be a meaningful signpost for plot drives even for such a vast text. Therefore, it is believed that application of this paradigm would help not only analyze but also design other serialized franchises as well. Prior to that, however, it would be necessary to further examine the combined texts for other major characters in MCU or other franchises designed in a similar form to MCU movies through the same paradigm to verify effectiveness of such application.

• Cross-Cultural Studies
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• v.42
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• pp.419-449
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• 2016

The Russian icon and Korean tangwha (幀畵, altar portrait of Buddha) are based on the similarity of the divine Being. Each has the characteristic index that forms an existential connection with the object and at the same time, implies the symbolic meaning of the scriptures and doctrines of the Russian Orthodox and Buddhists. Russian icon and Korean tangwha with these attributes have origins in the Byzantine, India and China. Unlike most religious art, Russian icon and Korean tangwha clearly reveal profane orientation and mystical elements. This artistic phenomenon has evolved from the mystical religious culture in Russia and tantric rituals of the early Joseon period. Iconostasis, created from historical figures of the Old Testament, Jesus, the New Testament represent the principles of the macrocosm. Each icon of iconostasis has integrity, while each floor has another narrative and a meta-discourse on the entire composition. Three-Platforms of amrtakundalin can also have a huge epic that is directed from the Low-Platform to the High-Platform for the purpose of salvation. While the narrative of iconostasis has a time structure, from the beginning of the universe up to date in chronological time, amrtakundalin have pictorial transitions of time and space that rises from this life to a heavenly world. Despite the different world views of the Russian Orthodox and Buddhists, iconographical format and symbolism of heaven and hell in the Iconostasis, Last Judgment and amrtakundalin are similar. There is a constant antagonism between heaven and hell, light and darkness, water and flame. Iconographical contents include the water of life and nectar, the book of life and 'eoppu', and the scales and mirror of Karma that discriminate between the good and evil before judgment. The dualistic coordinate concept such as light and darkness, life and death, or heaven and hell that appears in the narrative structure of iconostasis, the Last Judgment and amrtakundalin leads the people to spiritual awakening.

• The Journal of the Korea Contents Association
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• v.12 no.6
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• pp.120-131
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• 2012

This study has attempted to explore the way to construct the reality and its implication of the narrative elements in TV Audition Reality Show. According to the study results, first of all, two audition reality show has added the special tasks to characters based on the competition and has developed the dramatic events sequentially. And they has suggested the course of way between survival and fail, that is, inclusion and exclusion. As that results, audiences has be immersed in the process of the justification of the star(hero) myth and the dealings of musical elements to see dramatized show of narrative. And they knew audition reality show as non-real fiction, so they enjoyed the pleasure spontaneously. These means that the empowered media reproduced the illusion like star(hero) with the purpose of the commercial and political aim and one of the ideology to acquiesce in the appropriateness of the competition.

• The Journal of the Korea Contents Association
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• v.10 no.3
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• pp.175-186
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• 2010

The development and expansion of American style mass media in 1938 created contemporary narratives comparable with the Greek narrative in the past, and one of the leaders is comic book 'Superman.' Although American hegemonism or expansionism was rejected by autonomous independent countries including the Third World nations, the heroic narratives transcending the diverse races and peoples in the U.S. were supported by mass cultures and media and had huge impacts on heroic narratives and various media in many other countries. In particular, 'Superman' occupies an epochal position in the history of comic books as it reinterpreted a universal and contemporary heroic narrative model into a Greek hero and a Christian hero and suggested it visually.

• The Journal of the Korea Contents Association
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• v.18 no.4
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• pp.27-37
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• 2018

A satirical cartoon is a time-limited medium in the context of specific social phenomena. On the other hand, satirical cartoons based on 'Sewolho' was published with 74 works by Kyunghyang Shinmun and 46 works by Joongang Ilbo. This is because it is a social phenomenon with a special meaning that satirical cartoons based on 'Sewolho' is a political issue that is called out of time constraints. In this study, I compared and analyzed the expressive elements of Kyunghyang Shinmun and Joongang Ilbo in the social phenomenon 'Sewolho'. The elements of the character, frame, and speech bubble which are the picture elements of satirical cartoons, combine to form the narrative structure. And the elements of the Speech, name and commentary which are also the same. The results of this study are meaningful that the analysis of the narrative structure through the expressive elements of satirical cartoons is meaningful by comparing and analyzing the satirical cartoons of two newspapers with different tendencies.

• Journal of Korea Game Society
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• v.18 no.2
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• pp.59-68
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• 2018

A visual novel, a type of digital content combining novel and game, was designed as hypermedia which includes various media, for instance, image, sound, and video. The narrative of visual novel contains multimedia elements and highlights multi-scenario structures based on hypertext. Prior to creating visual novel scenario, a writer should thoroughly consider two main points. First of all, the scenario should cover the multimedia features of visual novel. Secondly, the scenario should be structured as a multi-scenario providing with performativity to players for interaction with readers. This study examines the influence of changes in platforms on visual novel scenario adjusted to mobile environment. It would provide an opportunity to understand how storytelling changes and adapts to rapid transformation of digital media contents.