• 프린팅코리아
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• v.13 no.2
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• pp.122-123
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• 2014

소설미디어의 폭발적인 증대는 마케팅 분야에서 가장 뜨거운 이슈의 하나가 됐다. 미디어 환경의 변화를 이끄는 한편, 호기심과 도전, 두려움과 방어라는 숙제를 인쇄업체에게 안겨줬다. 하루가 다르게 진화하는 수많은 사용자 편의 프로그램을 선보이는 페이스북, 트위터, 링크드인 등의 수많은 소셜미디어가 인쇄업계에게 '이래도 보고만 있을 텐가'라며 화두를 던지고 있다.

• Cartoon and Animation Studies
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• s.48
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• pp.173-197
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• 2017

The purpose of this study is to investigate the extensibility of transmedia contents of fantasy genre, and then to examine the characteristics of trans-media contents and analyze how the contents of fantasy genre have become trans-media. The definition and characteristics of the trans-media are distinguished from the existing theories such as One Source Multi Use (OSMU) and Crossmedia. At the same time, this study analyzes the extensibility of the trans-media contents applied to the fantasy genre and it compares with other medias such as novels, videos, games, etc. This shows that the game of the throne was more like to the second order adaptation through video adaptations that succeeded in success compared to the original novels that in expanding into trans-media compared with existing fantasy genre contents represented by the Lord of the Ring. The difference is that although the game of the throne is a fantasy genre content, it does not inherit the existing database genre elements, and it has been found that it has a different aspect from the existing customary form from the role of the character to the whole narrative. The analyzes presented in this study are equally valid for single content, not just for transmedia specific elements.

• The Journal of the Korea Contents Association
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• v.22 no.10
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• pp.658-675
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• 2022

With the advent of the OTT platform, the world has become an era in which the same media content is shared and reacted in real time by being grouped into one culture. This study attempts a producer study of web novel writers, who are producers of the web novel market that is expanding into webtoons, dramas, and movies with IP (intellectual property rights) of the original story at a time when Korean K-content such as "Squid Game" and "Weird Lawyer Woo Young-woo" leads the global market. In this study, web novel writers were viewed as producers of commercial media content, not just 'Novelist', and their identities and characteristics of the labor process were examined. Web novel writers began writing web novels as a side job or two jobs, and cited the fact that they can make profits alone without barriers to entry and without incurring capital or facility costs. Although there is no barrier to entry, most writers experience severe failure in their first work, which is attributed to the misunderstanding that the word "writer" is someone who writes what they want in any genre. Web novels are different, so writers go through the process of realizing that in order to succeed by writing web novels, they must be thoroughly in the audience's shoes and write them according to the trends and codes they want. Web novel writers expressed their identity as "story sellers," "story producers," "people who can produce IP alone," and "people who satisfy fantasies that cannot be achieved in reality," and in common, there was a strong sense of being a person who provides stories and makes profits or sales. Regarding the burden of writing a huge amount of web novels, the writer with a high income expressed a generous position that "the income is higher than the effort," but ordinary writers complained of difficulties in the hard work, saying, "It seems like I am working hard on writing that I have to write constantly.

• The Korean Publising Journal, Monthly
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• s.170
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• pp.18-18
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• 1995

멀티미디어시대 서점가 베스트셀러 판매대에 19세기에 씌어진 고전소설이 등장하기 시작했다. 나다니엘호돈의 "일곱박공의 집"을 비롯한 일련의 책들은 대부분 당대의 문학사에 불후의 명작을 남긴 유명작가의 작품들이다. 이는 19세기 인류가 고민했던 주제들이 현대인들의 고뇌와 흡사하다는 데 있다. 위대한 문학은 시간이 지날수록 빛을 발하기 때문이다.

• Proceedings of the Korea Database Society Conference
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• 2002.10a
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• pp.72-89
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• 2002

멀티미디어컨텐츠의 정의 : "멀티미디어컨텐츠란 소설, 그림, 사진, 비디오, 음악을 막론하고 멀티미디어 상품이나 서비스의 근간을 이루는 지적 재산을 의미한다. 유럽 IMO(Information Market Observatory) 디지털컨텐츠 정의: "디지털컨텐츠는 OECD의 정의대로 멀티미디어 기술의 발달과 더불어 디지털화한 텍스트, 데이터, 화상 및 (동)영상 콘텐츠 등을 총칭하는 개념이다." 2001 국내 디지털 컨텐츠 기업편람-한국소프트웨어 진흥원 (중략)

• Digital Contents
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• no.5 s.156
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• pp.52-57
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• 2006

게임서사 안에서 플레이어들은 진정한 영웅을 꿈꾼다. 수십 만명의 동시접속자들이 종횡무진 행동하는 게임 월드에서 조연을 꿈꾸면서, 수십, 수천시간씩 플레이하는 단 한 사람도 없다. 선형적인 소설이나 영화에서 여러명의 주인공을 두고 각각의 주인공이 주도하는 서사를 멀티플롯(Multi-plot)으로 풀어 낼 수는 있을지 몰라도 각각의 에피소드들은 차례대로 주어질 수밖에 없으며, 주인공과 플롯의 수도 미디어의 특성상 제한적일 수 밖에 없다. 게임의 서사를 기존의 소설이나 영화를 통해 구현할 수 있는 멀티플롯과 구분해 '다변수적'이라고 표현하는 이유가 바로 여기에 있다.

• Review of KIISC
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• v.21 no.1
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• pp.11-18
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• 2011

국내외 스마트폰 가입자 수의 폭발적인 증가는 스마트폰을 활용한 소설미디어 산업, 생활 밀착형 어플리케이션 개발산업, 모바일 광고 및 미디어 산업 등 관련 산업의 활성화를 이끌고 있으며, 정부 및 민간 기업에서도 스마트폰을 활용한 모바일 오피스 도입에 관심을 기울이고 있다. 그러나 '손안의 PC'로 불리는 스마트폰은 기존 PC가 가지고 있던 보안 위협 문제들도 내재하고 있으면서 무선인터넷 환경, OS 플랫폼의 개방성, 오픈마켓의 위험성, 도난 및 분실, 위치정보 노출 등의 신규 보안 위협도 존재하기 때문에 이런 취약성들을 활용한 새로운 모바일 악성코드들의 출현될 가능성이 더욱 커졌다. 따라서 본 논문에서는 현재까지 발생한 국내외 모바일 악성코드의 현황을 살펴보고, 2010년에 출현하였던 모바일 악성코드들의 주요 사례를 분석함으로써, 최근 악성코드들의 동향과 향후 전망에 대하여 기술하고자 한다.

• Journal of Digital Convergence
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• v.9 no.1
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• pp.177-187
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• 2011

Along with recent rapid growth in social media and mobile media in the web 2.0 flow, represented as openness, participation, and sharing, general and various changes are essential not only in economical, social, and cultural aspects, but also in politics. Korea is finding its position in leading the upcoming social media market based upon the past IT technologies. In the past years, the people of Korea have drawn attention in the international society as early adopters in new IT products. In the current dynamic varying social media environment, the politics must put efforts to utilize a method emphasing on communication with the people. Efforts to change are essential to modify the vision of organization as smart citizens party and implement the social media strategy. In this study, we investigate and suggest methods to change in the social media environment maintaining close relation with the people in order to unite with them. Our reports will help to revisit the existing government/party operation and to rethink about the efficient operating strategy suitable for social media environment.

• Korean journal of communication and information
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• v.68
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• pp.34-64
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• 2014

This paper analyzed the modes of human communication of the Korean enlightenment era through 9 new-style novels with the assumption that the fictitious world of novels reflect the social realities of that time. The most noticeable fact was that the communication environment of that time were remarkably diversified with the new media, such as newspaper, printed book, postal system, telegraph, telephone, and photo. But the communication of most people was mainly relied on traditional oral communication. In oral communication the hierarchical relationship and age were the most important variable as usual but the formality and etiquette were weakened than Late Chosun Dynasty. The distribution of written culture was enlarged especially by women and lower class. The contact with the foreign cultures which had become possible after the opening of ports brought about intercultural communication. In conclusion it can be said that the communication of people in the enlightenment era was mainly by oral communication but the reliance on the media was enlarged gradually.

• Journal of Popular Narrative
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• v.27 no.2
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• pp.215-262
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• 2021

This thesis focuses on Wandeuki and Elegant Lies - novels written by Kim Ryeo-reong and adapted into the film by Director Lee Han; this thesis analyzes the process of storytelling being transformed as the media is converted. Also, this thesis discusses cultural-political implications of transmedia storytelling where different narrative responses coexist concerning post-IMF family disorganization and "individualization." First of all, this thesis critically reviews existing discourses on the concept of transmedia storytelling and refers to 'transfictionality' the narratological concept of Marie-Laure Ryan in order to look into media conversion storytelling that starts from original novels. The novels Wandeuki and Elegant Lies show two aspects of "individualization" that adopts existential conditions of family disorganization. Wandeuki deviates from patriarchal family romance through self-discovery and exhibits loose family bond, which is something similar to companionship of close individuals. Elegant Lies shows individualization of pain by portraying a teenager who found herself completely isolated, while showing that it is impossible for the people left behind to mourn. On the other hand, director Lee Han's films and show stories in which family members, who are confronting family dissolution, rediscover and restore their families against family dissolution. The film promotes the expansion of family community through multicultural identity, and the film completes condolence of the people left behind by having the remaining families survive as survivors of suicide. The storyworld of the novels puts emphasis on 'self-discovery' of individual adolescents, while the storyworld of the movies puts emphasis on 'rediscovery of family'. Through transformation of storytelling - especially the redesigning of narrative structures called "modification" - transmedia storytelling shows that the relationship between media-converted texts is far from "faithful representation," but rather, shows conflicting themes and perspectives. With a reference point of 'the emergence of character' transmedia storytelling, which is predicated on the original work but aims to free itself from the original work by transforming storytelling through media conversion, opens up polyphonic storyworld by creating heterogeneous voices. In the post IMF-era, where uncertainty mounts over family dissolution and individualization, polyphonic storyworld created by transmedia storytelling provides an opportunity to experience disparate desires over individual freedom/risk and complacency toward community. We can call this the cultural-political implication of transmedia storytelling based on transferring, transcednding, and transforming.