• The Journal of the Korea Contents Association
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• v.16 no.9
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• pp.779-790
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• 2016

This study is to exhibit the iconographic narrative and visual culture of ancient Chinese art. The focus of the study is the composite integration of literature and graphic forms, in particular the heterochronous expression of different scenarios of scenes occurring in different time periods in pictures of ancient art. The unity of their origins with picture narration and comic art creation is the fusion of our modern times. The ancient Chinese understanding of visual art includes the traditional style of images and their symbolic meanings. Among artistic narrative expression, imagery contemplation and visual presentation have significance. Artistic thinking is inseparable from visual articulation. It is a rational thought process through creative language interpretation in visual media of imagery narratives. The characteristics of ancient imagery thinking and the way of presenting sequential incidents in the form pictures is a creative space of time. This is the spatial thinking of modern comic art, which is demonstrated through acceptance in artistic styles. Image narration needs new forms and media styles, including integrating with cultural values as aesthetic communication is necessary.

• 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.

• The Journal of the Korea Contents Association
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• v.14 no.11
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• pp.60-67
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• 2014

In the history of ancient art, the form harmonizing Text and Image is founded in many genres of art. especially Buddhist art Image, which is used as important tool as the text to spread Buddhist ideas. This original literary form have switched the visual communication systems, patterns of speculation is another reason to have a symbolic system. The switch between Text and Image is very important on interpreting the aesthetic concept of the modern interpretation of visual media. Therefore, This research has investigated and compared the Wall paintings in Dunhuang to Animation 's Image Narrative. The original story of is based on the Buddhist Jataka tale of the same name, which were discovered as wall paintings made by unknown artists at the Dunhuang Mogao Caves.

• Proceedings of the Korea Contents Association Conference
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• 2019.05a
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• pp.337-338
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• 2019

중국 저예산 영화는 다년간의 탐색하에 영화예술창작에서나 시장에서의 상업성적인 측면에서 비교적 좋은 발전을 가져왔다. 예술창작 측면에서 말하면 최초의 '개인 서사'부터 상업유형 영화의 축제로 또 서사 방식의 다원화까지 이미 점점 성숙에 나아가고 독특한 풍격을 형성하였다. 상업적으로는 입소문 마케팅과 차별화를 널리 보급하는 것이 저예산 영화에 새로운 경험과 결실을 가져다주었다. 본 연구는 영화의 예술성과 상업성 두 가지 측면에서 <나는 약신이 아니다>라는 영화에 대해 분석연구를 하고 또 성공 경험을 정리하여 신인 감독들의 작품을 위해 참고할만한 방향을 제시하고자 한다.

• Proceedings of the Korea Contents Association Conference
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• 2016.05a
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• pp.361-362
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• 2016

여기서는 영화 "카미유 클로델"이 어떻게 예술과 영화의 만남 속에서 조각 예술에 대한 이해를 도우며 예술가의 삶을 복원해내는 서사(narration)의 스토리텔링을 하는지 살펴보겠다.

• The Journal of the Korea Contents Association
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• v.22 no.8
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• pp.200-210
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• 2022

The purpose of this paper is to analyze Hirata Oriza's three plays, "Scientific Minds," "Monkeys on the Northern Limit Line" and "Balkan Zoo" with Lyotard's postmodern scientific view. Liotar, who claims that science and narratives follow the rules of their own pragmatic use, talks about the incommensurable parallelism between the two. Hirata Oriza points out that humans rely on narratives in the postmodern world. This paper analyzes Hirata Oriza's plays in three aspects. First, in the postmodern world where the master narrative has disappeared, it identifies the point where the boundaries that define the identity of human beings under the lost and developing science technology are fading. Second, we look at the pattern in which the parallelism between scientific knowledge and narrative knowledge is constantly diluted due to the characteristics of humans who understand the world by leaning on narrative. Finally, the aspects of small narratives are idetified, raised by individuals to comfort themselves toward a world where the master narrative disappears and is justified only by maximizing performance.

• The Journal of the Korea Contents Association
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• v.21 no.6
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• pp.687-700
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• 2021

The advent of realistic technologies such as AR has extended the interaction area from the computer environment to the offline space. As demand is expected to increase in the future, the need for study on interactive storytelling that mediates online and offline is emerging. This study proposes a storytelling structure to achieve a balance between interactivity and narrativity in interactive narrative characterized by online and offline mediation. According to a case study of ARG and AR games based on Henry Jenkins' theory of 'Environmental Storytelling', there should be a balance between the space designed by the game designer and the space created by the player's interaction, and the roles should be properly distributed in both online and offline spaces to contribute to the formation of narrative together. In addition, it is necessary to borrow the characteristics of ARG that achieves a balance of interactivity and narrativity based on offline spatiality. The significance of this study is to expand the area of interactive storytelling, which has been discussed centering on online, to offline, and to suggest the interaction area as a factor to consider. In addition, as a basic study related to storytelling that mediates online and offline, it is expected to provide a direction for the development of content based on realistic technologies.

• 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.

• Trans-
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• v.13
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• pp.141-169
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• 2022

Analysis of narrative texts has been regarded as academically and practically important, and has been made from various perspectives and methods. In this paper, the computational narrative analysis methodology from the perspective of information processing was examined. From the point of view of information processing, the creation and acceptance of narrative is a bidirectional coding process mediated by narrative text, and narrative text can be said to be a multi-layered structured code. In this paper, four methodologies that share this point of view - character network analysis, text mining and sentiment analysis, continuity analysis of event composition, and knowledge analysis of narrative agents - were examined together with cases. Through this, the mechanism and possibility of computational methodology in narrative analysis were confirmed. In conclusion, the significance and side effects of computational narrative analysis were examined, and the necessity of designing a human-computer collaboration model based on the consilience of the humanities and science/technology was discussed. Based on this model, it was argued that aesthetically creative, ethically good, politically progressive, and cognitively sophisticated narratives could be made more effectively.

• Cartoon and Animation Studies
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• s.36
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• pp.417-436
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• 2014

Stories have existed with the history of mankind along with drawings. Any genre of art that discusses the flow of time, such as literature, film, and play, cannot be free from narratives. The comics are not an exception. The comics tell the narratives with drawings from the cartoons in single blocks to the full-length series in tens of volumes. Nevertheless, there are not many studies that discuss the narratives in the comics. They may have been overlooked because they have been studied in the field of literature. However, I am envious of the field of film, which unravels the narratives with the same visual images, profoundly explores its own narratives and experimentally modifies and expands them into various levels. Therefore, I would like to make a narrative approach to the comics in this study. This study will discuss the non-narratives. It may sound ironic that the study of narratives will discuss the non-narratives, but the narratives cannot exist without the non-narratives. The non-narratives in the narratives compose the narratives in various ways. Therefore, Chapter II will discuss how the theory of narratives in literature classifies the narratives and the non-narratives as a theoretical background. Then, Chapter III will analyze the forms of non-narratives in Han Jo Kim's "The Texture of Memory" to discuss how the non-narratives of comics are composed, while Chapter IV will summarize the preceding studies. Finally, the narratives should be actively studied as it is an essential component of comics. I hope that this study can lay the foundation for more in-depth discussions of the narratives in the comics.