• 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.

• 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.

• The Journal of the Korea Contents Association
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• v.9 no.9
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• pp.143-150
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• 2009

A quest in MMORPG functions as a unit of game narrative. It is an essential part to progress game narrative and to construct player's own storyline. In addition, it makes player to expand her territory and helps with character growth by giving reward. A quest consists of four essential elements : the quest giver, the background story, the objective and the reward. A quest shows a blanch structure with two nodes which is same as Claude Bremond's elementary sequence. The sequence of each functions cannot be changed, therefore, it can be explained through a syntagma model. On the other hand, spatial disposition of quests follows a paradigm model. In order to construct a MMORPG narrative, a player connects quests into a single narrative by carrying out them.

• Journal of Digital Convergence
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• v.13 no.9
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• pp.463-472
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• 2015

The purpose of this study is to suggest a development model of English literature database, which will be widely available for narrative creation and editing in digital environment. The database will be allowed to assist effective recycling of various motifs prompted by existing literary works. This paper suggests how to build a story database of English literature by demonstrating a motif abstracting model with Hamlet originally written by William Shakespeare. It is hoped that this study will contribute to producing quality contents of storytelling and also give English literature experts chances of collaboration in the development of digitalized contents.

• The Korean Journal of Archival Studies
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• no.65
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• pp.199-226
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• 2020

It is widely agreed that a documentation strategy that considers the social context of fragmented records is needed for documentation of social memories. This paper examined a new methodology named Seoul Narrative Archiving Policy(S-NAP) which was developed for the documentation of social memories in metropolitan areas. Also, the paper reviewed the applicability of S-NAP through the collection cases of Seoul Metropolitan Archives. The development process of the S-NAP is as follows. First, acquisition topic domains that cover an entire metropolitan region were developed. Next, implementation units(S-NAP) were designed through extensive data analysis that encompasses social, economic, culture, and art areas and reflects outcomes of regional studies. As a result, a total of nine acquisition topic domains, 61 parents S-NAP, and 184 children S-NAP were derived from the aforementioned methodology and methods. Finally, this paper proposed the applicability of S-NAP as archival contents and as a supportive tool for archival activity networks.

• Korean journal of communication and information
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• v.26
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• pp.7-44
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• 2004

This paper proposed semiotic model to explain representation process of time in cinema. Limitations of cinematic narratology which explain representation process of time in cinema were indicated, then alternative explanations of Deleuzian philosophy of cinema were proposed. After discussion about articulations of cinematic code, Deleuzian concept of movement-image was suggested as semiotic minimal unit of cinema. In cinema, Movement-image is divided two different aspects ; "normal movement-image" and "abnormal movement-image". Therefore, two different semiotic representation process of time was reconstructed in accordance with Peircean semiosis theory. In this two different semiotic process, modern cinema emphasize the direct representation process of time with "abnormal movement-image". As Deleuze indicated, The "time-image" is presented in this semiotic process. The "time-image" makes it possible to consider "time itself" as philosophical fact which is laid between reality and cinema, This semiotic process more emphasizes pure expressionality than representationality. Deleuzian philosophical journey through cinema was started in this point.

• Journal of Popular Narrative
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• v.25 no.3
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• pp.303-345
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• 2019

This article analyzes the multi-layered communication in the Webtoon Princess Pari, released on the Daum portal site, created (written and illustrated) by Kim Naim, through analyzing the narrative structure and comments with the qualitative / quantitative methodology. The webtoon Princess Pari is structured in an omnibus style in which unit narratives are intermittently articulated, multi-lined, and interconnected. As integrated narratives which link with unitary narratives, Pari's growth story as a shaman and a romance narrative are structured. The classical original story of the shaman was used as a prehistory corresponding to the prequel of the webtoon through a preview, and the writer restructured the narrative to overcome the contradictions of the gender asymmetry and the patriarchal ideology of the original text. The viewer then creates a conversational space by giving critical and reflective comments. According to a statistical analysis conducted through sampling, the types of comments can be classified as follows: Appreciation and criticism of the contents ≫ Emotional response ≫ Intuitive overall review ≫ Knowledge and reflection ≫ Comments on comments. In the process of creation and acceptance of the Webtoon, a multi-layered dialogue between classical and modern, content and audience, acceptance and creation has been at play. In the creation dimension, the writer used a device to fill the gap of mythical symbols of the contents. At the level of the audience, they formed a culture of sharing information, knowledge, and reflection about tradition/folk/culture through comments. This corresponds to classical and modern dialogue through the webtoon. The viewers form a sympathetic bond, attempt hermeneutical coordination, supplement the information, and search for a balanced angle through controversial conversation. In addition, by commenting on attitudes, views, and perspective, the commentators showed a behavioral pattern corresponding to meta-criticism in literature. The viewers' comments acted as feedback on the creation of the webtoons, so that the creation and acceptance itself influenced the production of the content of the webtoon. The webtoon Princess Pari, which was based on Korean classical narrative, has been reorganized onto 'moving and dynamic' content, which leads to sense, thinking, criticism and reflection through the formation of various dialogues.

• Proceedings of the Korea Contents Association Conference
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• 2018.05a
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• pp.135-136
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• 2018

본 연구는 컴퓨터 문헌 분석 방법을 활용하여 <적벽가> 이본의 계통을 분류하고 기존 이본 연구를 검토한 것이다. <적벽가> 이본의 공통 서사단위는 5개의 계층으로 파악되며, 146개의 개별단락을 산출해낼 수 있다. 이를 통해 군집 분석 방법과 계통의 분기 분석 방법을 적용할 수 있으며, 작품의 계통과 이본간의 거리를 시각적으로 파악할 수 있다.

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

• Cross-Cultural Studies
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• v.40
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• pp.41-60
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• 2015

This article aims at exploring the convergence and sharing of cultural tastes among Northeast Asian countries by analyzing TV drama "Boys over flower", based on the original Japanese manga and produced in Korea, China, Japan and Taiwan in the $21^{st}$ century. It explores the expectation and desire of the mass who have taken pleasure in watching it in each country as well. This article argues that the sharing of the sensitivities and tastes of young women, the main consumer of the drama, by the mass of the four countries, are an important cultural phenomenon in that it reveals the emergence of "girl" as an active cultural consumer, who had been the object of a restraint and strict protection of the bourgeois family structure.