• Trans-
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• v.3
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• pp.29-53
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• 2017

The film scholar Vincent Amiel divides into three types of montage through his book The Aesthetics of Montage ; Montage narratif, Montage discursif, and Montage decorrespondances. These three categories are the concept that encompasses the aesthetic class to which most movies belong. Early films pursued the essential and basic functions of editing, which tend to be modified in the direction of enhancing the director's goals over time. In this way, "Expressive Montage" is one of most important concepts of montage, not as a 'methodology' that combines narrative but as a 'purpose'. In the montage stage, the expressive montage work is done through three steps of decision. The process of 'combining' to combine the selected films in a certain order, after the process of 'selection' which selects only necessary parts of the rush film, and 'connection' to determine the scene connection considering the duration of the shot. The connection is the final stage of the montage. There are exceptions, of course. When fiction films of classical narratives use close-ups, or when using models or objects of neutered animals, the film induces the tendency of a "montage decorrespondances" rather than a "montage narratif" or "montage discursif". This study attempts to analyze the tendency of montage of works with 'uncertain connection' through 'collage' used by close-ups and montage decorrespondances as 'fragmentation tendency of modern films'. The fragmentation of the montage in contemporary film breaks the continuous and structural nature of the film, and confuses the narration structure that is visible on the surface of the film. The tendency of the fragmentation of the montage, which started from this close-up, seems to give an answer to the extensibility of the modern image.

• Journal of Digital Convergence
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• v.19 no.6
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• pp.331-341
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• 2021

This paper analyzed the discourse on writing by experts such as writers, novelists, and writing instructors appearing in YouTube videos through narrative analysis methods. According to the analysis, the five key topics comprising writing discourse were: Active reading for writing, Nonstop writing and writing more, Rewriting 10 times more than talent, Writing in spoken language in the era of one-person media, Sharing feedback on social media. The writing discourse of professionals illustrated the change in writing in the age of social media. First, it was confirmed that the writing culture shifted from reading to writing and rewriting. Second, writing in the social media era naturally showed that the spoken language of writing became the dominant code. Third, it has been confirmed that writing in the social media era is social writing of cooperation and sharing that openly share feedback. These findings will have significant implications for future research on media and writing

• (The)Study of the Eastern Classic
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• no.67
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• pp.35-67
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• 2017

This paper is a study on popularise aspects and consciousness of times about Seol-In-Gui's narrative in the Joseon Dynasty. Seol-In-Gui is general of Dang(唐) and he entered the war between Goguryeo(高句麗)and Dang. The war between Goguryeo and Dang is ended victory of Goguryeo. And Joseon peoples was long for power of Goguryeo and recognized again history of Goguryeo. So discourse of regaining native land was formed in the Joseon Dynasty. Besides was very popular in the Joseon Dynasty. Seol-In-Gui's narrative and are quite similar. And Dang-Tae-Jong, Ul-Ji-Gyeong-Deg's old story was prevalence. Dang-Tae-Jong and Ul-Ji-Gyeong-Deg entered war between Goguryo and Dang. Therefore Seol-In-Gui's narrative was popular in the Joseon Dynasty. Popularise aspects of Seol-In-Gui's narrative as follows. First, Seol-In-Gui's conquest of Yodong(遼東) narrative and heroism was gradually emerged in Seoul block printed of 40, 30 sheets version and printed book of . Second, Dang-Tae-Jong, Ul-Ji-Gyeong-Deg, Hab-So-Mun's individual narrative was formed. Third, Seol-In-Gui's narrative was expended to female hero's conquest of West-Beon(西蕃) narrative. Because are adaptations of . And is succession of Seol-In-Gui's narrative. Seol-In-Gui is people, Ben-Li-Hwa is female, Ben-Li-Hwa and Ul-Ji-Gyeong-Deg are ethnic. It is revealed that people, female, ethnic are real ability of Chinese nation. Furthermore it is revealed that people and female must are appointed and ethnic must is combined. Besides it is revealed that it is necessary built up national strength of Joseon Dynasty like Goguryeo and Goryeo. After the Manchu Invasion of Korea in 1636 national strength of Joseon Dynasty was weaken. So the Joseon Dynasty People long to be intensifed national strength keep in check China.

• Journal of Korea Game Society
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• v.8 no.4
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• pp.45-53
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• 2008

This paper analyzed the narrative construction of ‘World of Warcraft’ which is very popular worldwide. Narratology and ludology should be interrelated in the larger area of art, rather than existing as separate fields. Dramatic narrative constructions of game would be made when the rules of game emerge with the circumstances of play. This paper reviews how 'World of Warcraft' generates its tremendous popularity through analyzing the overall narratives of 'World of Warcraft' and sub-narratives such as quest, PvP and hunting systems. The distinctive feature of this game is its well-designed story flow which is emerged by both underlying linear original story and non-linear multi-scenario that offers rich interactivities to the game users.

• The Journal of the Korea Contents Association
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• v.18 no.8
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• pp.262-271
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• 2018

The purpose of this study is to identify the aspect of the single-parent family discourse in the TV documentary. Considering the fact that the normal family myth shows limitations in reality, it is necessary to expand the single-parent family research based on various analysis subjects. For this purpose, the study conducted a narrative analysis of KBS1's documentary 'Gong-gam' (2015), which deals with single daddy and single mom's stories at the same time. Single daddy and single mom are commonly described as overcoming the 'deprived situation'. However, asymmetric description was outstanding in that single daddy is depicted as performing the role of mother as well whereas the single mom appears to be unable to perform even the mother's role. Also, the narrative in the documentary compares broken family with normal family and reproduces the fixed sex role, which considers the problem an individual area. Such description can be seen as a process of persuading them into a "modified normal family myth". However, as the fundamental problem is the absence of new discourse, the role of the media to reproduce and expand the conflicting family discourses will be important.

• The Journal of the Korea Contents Association
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• v.14 no.3
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• pp.113-124
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• 2014

Ah! My Goddess has impressive narrative structure including a "narrative as a discourse," a "narrative as a story" and a "narrative by narrator": in a narrative as a discourse, North and South Korean soldiers make friendship; in a narrative by a narrator, main characters (including Sun-ho, Seok-gu, Ju-hwa, Chang-seop and Dong-hyeon) appear in the outer story and narrate the inner story of characters (including Dong-hyeon, Goddess and Seok-gu) within the frame of a play within a play; and in a narrative as a story, reality and fantasy intersect by the appearance of the "Goddess." This narrative structure contributes largely to 1) the character formation of space, 2) the strategic minimization of the stage, 3) the multiplicity of main characters, 4) the repetition of similar life story, and 5) the flexible change of a point of view. And the musical number serves as dramatic functions such as 1) pursuing the multiplicity of characters, 2) maximizing the effect of the expression of tragic feelings, 3) drawing audience's interest by irony and fantasy, 4) evoking the nostalgia for delicate feelings and pure wishes, and 5) ordinary female characters' playing the role of healing and salvation, thereby contributing to the reconstruction of reality and the style of fantasy.

• 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.

• 한국HCI학회:학술대회논문집
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• 2007.02c
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• pp.183-188
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• 2007

게임은 데카르트적 좌표(Cartesian coordinates)의 전통을 뒤흔들고 육체와 정신, 이성과 감성, 실재와 가상을 가로지르면서 진화하고 있다. 수많은 철학적 담론을 야기하는 사유의 대상이 되고 있는 게임은 "미학적 기술(Aesthetic Technology)의 철학화(Philosophizing)"로 새롭게 정의될 수 있다. 게임의 메타포적 특성은 철학화하는 게임을 규정하는 중요한 면이다. 메타포(Metaphor)는 '개념의 매핑'(Mapping of the Concept)이며, 분리된 정신과 육체, 내용들을 연결하는 게임 역시 개념의 매핑으로 메타포가 된다. 게임의 메타포적 특성은 몰입(Immersive)과 연결되며 게임 기술의 발달로 개념의 매핑은 '개념의 몰핑'(Morphing of the Concept)으로 나아간다. 게임과 서사 사이의 갈등 또한 철학화 하는 게임의 까다로움을 드러내는 것이다. 게임학(Ludology)과 서사학(Narratology)의 이론적 논쟁에도 불구하고, 게임의 서사와 문학의 서사 사이에는 분명한 존재론적 차이가 있다. 우리는 게임에서 단지 사물이 움직이는 것을 보는 것이 아니라, 우리는 '우리 자체가(우리 스스로가) 움직이기 때문에 움직이는 것들을 보는 것'이기 때문이다. 그러므로 게임의 앵글(보는 방식)은 의미와 행위자가 아니라 '사용과 사용자(Use and User)'로 이동되어야 하며, 이때 서사는 '규칙의 해석(Interpretation)' 과정에서 생기는 잉여물(Surplus)이 된다. 게임은 수적으로 재현되며, 수적 재현을 통해 만들어지는 생산물(Product)은 서사가 아니라 알고리즘(Algorithm)이라는 숨은 규칙을 지닌 데이터베이스(Database)이다.

• The Journal of the Korea Contents Association
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• v.18 no.10
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• pp.65-77
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• 2018

Recently, the number of 'single-person household' is increasing rapidly. It brings about changes in the societal cultural aspect. Examples of television programs focused on their lifestyle provoked the societal attention as a important social agenda. This research investigated to figure out inherent ideologies in of tvN through Semiotic and Discourse analyses. As a result, predominant ideologies were revealed on the basis of representations of such single-person households. The authors also tried to find out how the media represent attitudes of single-person households and figure out how the media approach their ways of lives on bases of specific discourses and ideologies.

• Cartoon and Animation Studies
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• s.5
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• pp.460-465
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• 2001

글과 그림 사이에서 진동하는 상호보완적 절층주의로부터 벗어나, 텍스트와 이미지의 벽을 넘어서서 신개념의 그래픽 문법으로 형성되는 ‘제3의 지지체(支持體, referance)'이길 바란다. 더 나아가서는 새로운 장르 개념의 ’참조들${\cdot}$frame work'이 조성되길 바라며 작업을 지속한다. 그 방버론의 적용으로는 보여지거나 인식되는 사물과 사태를 ‘서사적 조망${\cdot}$Narration View'으로 회유하여 서사묘${\cdot}$Narration Drawing, 혹은 서사회${\cdot}$Narration적 담론과 리사이틀의 체계를 구축하고자 한다. 따라서 나의 작업은 개념도 실재(행동)도 아닌 양자의 삼투막(?透幕)과도 같은 것으로 최소한의 표현, 그리고 그에 상응하는 선택과 결정이 주어지게 된다. 마치도 ’평면조건‘위에서 글도 아닌 도상적 스키마의 조그마한 끄나풀 하나를 붙들고 연명하는 미물의 절실함이 그것이리라. 또 한편에서는 글이기도 그림이기도한 한 ’이코노텍트성 Iconotextuality'의 보편적 열람성과 보존성의 현전의 세속적 희열과 자유로움을 느낀다. 일품 회화의 오리지날리티로 벗어나 ‘원고개념’을 전제한 작품제작의 출발은 A4 배상용지 위에서 실현된다. 끊임없이 증식되는 생물학적 상상력의 구축은 매카닉한 기계류의 반복과 중첩 이미지, 확대와 축소의 개념적 확산, 용품과 도구 tool character에 의한 드로잉의 산출 및 페인팅의 점착성으로 이어진다. 실제의 프레임과 패널, 액틀을 쓰지 않는 연유는 좀더 벽에 밀착하여 붙이기를 원하기 때문이다.