• The Korean Journal of Archival Studies
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• no.67
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• pp.237-266
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• 2021

In archival science studies, personal archives is a relatively unexplored field. In particular, it is difficult to find a way for ordinary individuals to organize an archive for themselves. This study suggests how individuals organize archives for themselves and suggests life memory composition as a way to utilize them. For the structure and metadata design of life-time narratives archives, this study refers to Narratologie studies and memory studies of psychology, which are combined with the concept of hierarchy and collectivity of archives. In addition, the plot concept of the narrative was proposed to form a life narrative, which was used as a tool to construct one's own life narrative. Research into the composition and utilization of these life-time narrative archives may be helpful when individuals want to create archives for themselves in the future.

• 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.

• 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.13 no.1
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• pp.105-114
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• 2013

The purpose of this paper is to explain the operation and meaning of the narrative, which is one of the main principles for the contents construction, especially focusing on the concepts 'difference' and 'desire'. The classical aesthetic taught us that the differences between diverse characters and reality models are the effective strategy for the reading the story. But this paper focuses on the structural difference of the event (story) and performance (discourse) of narrative, which are regarded as the basic condition of narrative. This difference is to describe in terms of the media theory and psychoanalysis. This paper also seeks to interpret the recent korean film to exemplify that the creation of difference for the fulfillment of desire is the basic element of the narrative constitution.

• Review of Korea Contents Association
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• v.9 no.4
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• pp.38-42
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• 2011

• The Korean Journal of Archival Studies
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• no.69
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• pp.153-187
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• 2021

Narrative runs through the entire human life. 'Narrative' is a means of understanding and experiencing human life. The past, the present and the future are not disconnected. The past is open to the future. The future defines the meaning of the past, and the past rreturn as the horizon of life. Past, present and future temporality functions as a Narrative. Records reproduce the past time as Narrative, and recount the past according to reading behavior. Reality and records complement each other with a cyclic and dialectic structure. This paper examines the relationship between reality and records. This paper applies Paul Ricoeur's Hermeneutics to records as a tool to examine the relationship between reality and record. We want to look at how records interpret and relates to reality, and how social justice of collective memory should be should be achieved against them.

• The Journal of the Korea Contents Association
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• v.11 no.11
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• pp.111-119
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• 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
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• s.17
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• pp.37-51
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• 2009

Immersion is the key factor in determining success or failure for fictional narrative animations. It does matter to not only for the socio-economic achievements like box-office success but to the asthetical achievement, immersion is very important prerequisite character that are raised in terms of research needs. Fictional narrative animation shares the audience's immersive method with the narrative content and Virtual Reality, since animation has the character which narrates itself with the visual image format (including sound) and added the fact that 3D format which emphasizes realism compared with the recent 2D animation has been ubiquitous phenomenon. In other words, the artistic for called 'animation' is located between the view point that text has the immersive point intrinsic and oppositely, specific function of the certain media which stays extrinsic of the text enforce the participants into the immersion. In any case, the subject who experience immersion is the audience, so the most useful theory to research the phenomenon 'immersion' is Constructivism cognitive narrotologic approach which lies the peader-spectator as the centric notion and is more useful than text analysis or research on the visual effects. In this study, research and review about the studies on the audience's immersive experience would be preceded particularly aroud the constructivism theories, and examine the uniqueness and naures of the animation which makes the audience immersive.

• Proceedings of the Korea Contents Association Conference
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• 2005.11a
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• pp.144-148
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• 2005

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 Popular Narrative
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• v.25 no.4
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• pp.361-395
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• 2019

This paper take a media archaeological approach to cinema transformed into a narrative medium during its transitional period, 1903-1915. To accomplish this, I will explore the question of as which narrative medium cinema was imagined and also how it was institutionalized as a narrative medium with authorship. I will explain that the imaginary and real ideas and changes on cinema resonated with each other on the foundation of its technological aspects such as indexicality, 23 frames/sec. and montage. It was during the transitional period that cinema was transformed from a medium representing spectacle to a medium of narration. The establishment of the American film copyright law in 1912 was an institutional, real outcome from the contemporary understanding of cinema as a narrative medium. At the same time, various ideas emerged that led to imagining of cinema as a complete narrative medium, incomparable to any other. From a media archaeological perspective, the imaginary ideas of media resonate with their actual course of development. These imaginary ideas are not just imaginary, but rather reflect the contemporary desire for the medium. This paper looks into the transitional period based on this media archaeological point of view. To this end, this paper will briefly introduce the notion of media archaeology as a media theory and then discuss Eric Kluitenberg's concept of 'an archaeology of imaginary media' and its methodologies. Second, it will explore literary and cinematic imagining of cinema as a powerful medium of storytelling, while discussing the ways in which cinema's technological characteristics played a decisive role in these imaginings. Also to show the techno-deterministic role of cinema in the real world, this paper will explore how its technological characteristics were considered as an important element in the processes through which America's first motion picture copyright was institutionalized in 1912 after two historical copyright cases: one is Edison v. Lubin in 1903 and Kalem v. Harper Brothers in 1909. Ultimately, this paper will lead us to an understanding of the history of cinema as a medium and its developments in more multi-layed way, as communication between the real and imaginary, and give us perspectives toward what cinema is.