• Journal of Korea Game Society
• /
• v.7 no.4
• /
• pp.3-11
• /
• 2007

In many game narrations, completed games have been used to analyze the users' response. But in this case, one tends to exclude the narrations that producers intended at the production stage, and games tend to have a narrative structure in a text form before they turn into the digital form of a completed game. For these reasons, we broadened the existing definition of game narration to include from production to completion. We then divided the production into many stages and analyzed how narrative structure changes at each stage. We divided narration into three stages? initial stage, storytelling stage, and form change stage. Game narrations maintain the form similar to the one in exiting narrations at the initial and storytelling stages, but turn into functional document at the form change stage. And at this stage, digital results take the place of narrative expressions.

• The Journal of the Korea Contents Association
• /
• v.11 no.11
• /
• pp.111-119
• /
• 2011

Movie research in the 1980's structuralism looks tendency to escape director or text research and analyze spectator or inspection action. These post-structuralist divert interest by analytic convention of spectators in analysis by director's intention or text type correctly. There is the age that spectator, inspectional action and inspectional subject weighs more than director, work and text itself. But, inspection of movie can be person's enemy by director's narrative strategy or spectator's analytic quality that depend on a text and spectator and their interaction usually, and only method to acquire universality chooses full analytic discourse to principle. We should be structured by symbol system that the event is consisted of movie language to reappear the event through narrative in movie and this symbol system, director's narrative strategy can cause fixed esthetic distance between spectator. Researches to analyze this distance need to keep universal validity as much as being accepted by effort to gap with director and spectator. Therefore, narrative poetry that I analyze movie narration style by 'narrated' and unit of 'narrating' and study the form and function so-called, is going to follow narratology's access method. The consistent argument of this narrative poetry is that story is consisted of the events and these observe to structured thing by unit that is sequence through arrangement with the other event that adjoin in the event. Also, director need consensus with spectator to reappear connection of this event logically and it is thing which this reappearance form can be done characteristic by narrative strategy in directing. I am going to try narrative structure analysis of movie by narrative that is connected at structure of the event and 'narrating-narrative acts' that is interested in way to reappear this story to spectator hereupon. Of course, at process of research, Roland Barthes and his followers wish to apply 'narrative function' and concept of 'narrative acts' that prefer from time to time.

• Cartoon and Animation Studies
• /
• s.43
• /
• pp.231-254
• /
• 2016

The graphic novel is seemed different from comics in two aspects, visual expression and narrative value. However, they are ambiguous standards, so it needs to research each works of graphic novel deeper. Then this paper studied both of visual expression and narrative in Craig Thompson's "Habibi" that has been recognized a fine graphic novel. As the research about how the modes of expression that an American author choose on purpose to represent an arab female are related with narrative, it will get the point of narrative strategy that graphic novel can have potentially. So It studied new modes of expression as focusing on imagination of arab letters and woman growth-narrative by using Gayle Rubin's 'traffic in women' theory, and how it was related with modes of expression in graphic novel. This paper will be helpful for broadening spectrum of expression in graphic novel as comics media having own narrative form and studying graphic narrative potential.

• The Journal of the Korea Contents Association
• /
• v.13 no.10
• /
• pp.151-159
• /
• 2013

Formalism narrative theory adopts the dualism of Fabula, story material and Sujet, story substance. The recent theories of storytelling convert the dualism into story and storytelling. This essay delves into the mechanism of contemporary storytelling by comparatively analyzing the storytelling of two films, A Korean film, Family Ties and A Hollywood film, Little Miss Sunshine, which are considered to represent contemporary storytelling. While the latter builds its structure through desire usually shown in the classical Hollywood films, the former has the structure which has nothing to do with causality by displaying fragmented stories. And the latter has typical characters, while the former shows totally different reality, using the obscure characters. In conclusion, Little Miss Sunshine has a storytelling which puts audience feeling in tune by controlling it, and Family Ties has one which delivers director's intention.

• (The)Study of the Eastern Classic
• /
• no.37
• /
• pp.161-188
• /
• 2009

How did Japanese who surrender to Joseon reflect in old proses / Seo, Shin-hye This paper is focus on Japanese who surrender to Joseon. I researched how were these people to live through old novel, old tale and old biography. And I researched how these works reflected these people. Usually Japanese who surrender to Joseon were butchers. They were loyal to Joseon and their higher officer to a fare-thee-well. In old proses, writters compared these surrender with Joseon's general. People expect the general loyalty, but he didn't. Because of surrender's loyalty, Joseon's general was seen as an abject coward. This form came out in common in the biography of Gim Yeongcheol, the biography of Gang Hongrip and the biography of Gim Chungseon. But this fact was biased. All of Japanese surrender was not loyal, and they liked fighting in the battle. The singularity of the biography of the butcher who is Buddhist monk attracted our attention. In this work, we can see the surrender's mental conflict. We can realized the people is equal with Joseon's people.

• Proceedings of the Korea Contents Association Conference
• /
• 2018.05a
• /
• pp.505-506
• /
• 2018

애니메이션은 화면을 구성하는 모든 요소를 제작자의 의도에 따라 창조할 수 있다는 부분에서 메시지를 전달하는 표현 도구로써 언어적 성격이 강하다. 이에 애니메이션 작품을 대상으로 선정해 작품 속에서 묘사되는 공간의 역할과 그 상징의미에 대해 고찰하고 그것이 어떻게 기호화 되어 있는지에 대해 분석하기 위한 선행연구를 진행하였다.

• Cross-Cultural Studies
• /
• v.47
• /
• pp.1-26
• /
• 2017

This paper focuses on three novels that reflect absence of family. Conflicts caused by absence of parents or lack of function and role of parents were principle drivers fueling growth novels. In Chinese growth novels, children in a long-standing tradition of emulsion and political pressure were unable to express their conflict with parents. Out of the collective interest and only until the late 1980s, which can be found of the individuals were able to fully appreciate the growth of children. Since the late 1990s, the creative individual cases to the growth is an important point of Chinese growth. Due to a close relationship of the literature and politics further noteworthy that the growth of state for personal growth for China's growth. Reform and opening up the end of the Cultural Revolution, the emergence of new generation of cultural sensitivity with a relatively free personal attention to the growth of the chance that can be. In this paper, created since the 1990s, the growth of the stories of yuhua (余華)'s "Cry in the Rain"("在細雨中呼喊"), sutong(蘇童)'s "The Northern Part of the City"("城北地帶"), wanggang(王剛)'s "English"("英格力士"), going to go through by focusing on how to respond in the lack of family. "Cry in the Rain" shows that a consciousness orphan child abandoned main actors 'consciousness from his birth parents and adoptive parents. "The Northern Part of the City" chronicles different growth stories of children who experienced a void because of their absent families and found comfort in peer groups. "English" is distinguished from the mainstream narrative of Chinese growth in terms of creating a role model. Individual growth through the role model in that it will eventually establish their own identities and further growth. Because of that, this novel is considered best practices of Chinese growth novels. This kind of narrative, which returns to the memory of the growth of growth, has a richer connotation amid various attempts by writers out of the past era of obsession and fatigue.

• Cross-Cultural Studies
• /
• v.43
• /
• pp.377-404
• /
• 2016

In this paper, I intend to focus on the 1991 racial tension and violence portrayed in Anna Devear Smith's book Fires in the Mirror, which was published in book form in 1993. I make use of a series of interviews with many of those involved in the conflicts, which were based on the Jewish Holocaust and the history of African American enslavement. In Crown Heights, the black community and the Jewish community have each suffered terrible losses, but individuals and communities become rhetorically attached to foundational historical traumas that lie at the center of each group's cultural identity rather than try to understand each other's pain. Smith lets this rhetoric dominate Fires in the Mirror by putting contradictory monologues side by side in order to show how discourses on 'slavery' and 'the Holocaust' still have control over specific ethnic communities. My intention is not to delve into the conflict between the Jewish and black communities exclusively. Rather, I attempt to form an understanding of the problems of the critical/theoretical tenets proposed by 'the rhetoric of holocaust,' including the Jewish Holocaust and the black experience of enslavement. Such an understanding will help us see the failure in the theories, illuminating the ways that such rhetoric should have recognized its own violence and helped to forge a new relationship between racism and anti-Semitism. Fires in the Mirror mirrors back to us the ways that 'the Holocaust' betrays the possibility of error to indicate its own susceptibility to blindness. The cracks brought forth by conflicting narratives enable readers to observe wounds being healed and the possibility of new narrative looming up.

• Journal of Korea Entertainment Industry Association
• /
• v.14 no.3
• /
• pp.285-294
• /
• 2020

"The Man Standing Next" was a 'anger-character movie' that shows a fierce psychological game between the characters. Inspired by this point, it was analyzed the narrative structure of this film based on scene unit applying the 'Five-stage Anger Model' formulated by Lakoff and Kövecses and others. The results showed that the causality and feasibility of the protagonist's anger behavior were highly reflected above the model. In particular, among the five steps, the film-maker spent the longest time on 'anger control' justifying the hero's motivation for punishment or retaliation, while giving the shortest time to 'loss of control' to maximize the urgentness of the punitive actions. The detonator causing his anger at each stage was disposed two to six times each stage with neglect, contempt, arrogance, ostentation, mockery, unauthorized intervention, etc. Sneering of "Chief Security Officer" and insulting of "The President" make the protagonist feel the scorn of a terrible friend-murderer each functioned as a "rage trigger." In conclusion, the film follows the above sophisticated model in its narrative structure. Though it was a political drama that sets up a lot of anger scheme caused from public reasons, it reflects ordinary people's routine anger, which corresponds to 24 percent of the list of Nobaco's Provocation Inventory (PI). The producers elaborately reflected the anger procedure theory and balanced the public and private drivers of rage. It was considered to be derived from the intention to enhance communication with the audience increasing their understanding and aspiration for political movie that are usually heavy and unfamiliar.

• Journal of Korean Classical Literature and Education
• /
• no.35
• /
• pp.153-193
• /
• 2017

This study explores the creation and enjoyment of Kuwoonmong (九雲夢) using a reference system called the cultural imagination, which is related to the Yin-Yang (陰陽) and Wu Xing (五行). When Kim Manjung wrote Guwoonmong, he may have composed figures and events based on this imagination. In particular, when he designed the eight seonnyeo (팔선녀), he set the order such as Gap (甲), Eul (乙), Byeong (병), Jeong (丁), etc. and characterized them according to the celestial stem (天干). Thus it was easy to avoid overlapping of characters and to construct various stories and relationships between them. The table below shows the characters of Kuwoonmong corresponding to the celestial stem. In not only the individual person but also the narrative world, Kuwoonmon demonstrates Yin-Yang and Wu Xing's imagination. In this respect, Kuwoonmon can be considered a large symbol encompassing the abstract theory of Yin-Yang and Wu Xing. Of course, the writer, Kim, Manjung would not have tried to symbolize the principle intentionally. However, he was also present in the environment of the cultural imagination that has been formed over the years. The same is true for the contemporary recipients of Guwunmong. They would have had a pleasant experience applying the cultural imagination and strengthening their familiar world view and human view.