• The Journal of the Korea Contents Association
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• v.14 no.2
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• pp.84-93
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• 2014

Comics uses words to convey its content and meaning, while the comic image conveys the content as a narrative function to represent how language is combined with the text. This paper makes a comparison and analysis of the comics of Japan and South Korea, in terms of words and image expression, narrative techniques, and the way of communication, to study the characteristics of image narrative. The comic image of Jing ke is the other as a flow of narrative and getting rid of the current screen, to resonate with the readers. Go U-yeong's comics and Sumeragi Natsuki's set up a virtual narrative time and space through the line, surface, space and shade, to realize the reproduction of unhistorical facts and the significance of narrative with the artist's imagination. Sumeragi Natsuki's comics uses historical facts to represent exquisite narrative like still-life paintings. She focuses on the description of the objective facts of history, to seek the sensitive comic image beyond reality. The image narration of Go U-yeong's comics is a clash between his historical narrative among the subjective romantic image and the readers' awareness narrative flow that they insist inside. Therefore, he tries to keep balance. The instant image in his comics is not a reproduction of the historical real moment, but a reproduction image of the reality reconstructed by his own pursuit of narrative.

• Journal of Digital Contents Society
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• v.11 no.4
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• pp.607-614
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• 2010

History centered knowledge based story-telling project planning tool supports the process of story creation in narrative genre about history of families or individuals. Narrative fields not only include drama, mythology, legend, history but also non-verbal epics such as movie, play, ballet and opera. But as verbal epic, this research paper focuses on the family history and individual history of each household. This story-telling planning tool redevelops each genre of story-telling about family history through sampleDB and informationDB, and it is widely applicable in concreting high quality stories in both its content and value. Reduces the time of planning story-telling, and impose minimum expenses in human resources. Content about family history is one of the most the fundamental and renowned contents in Story-telling but planning tool that is easily applicable in creating such content does not exist in statue quo. In this current system lacking creative infra, this research paper seeks to provide a planning tool that public can easily utilize, and by systemizing the tool. it aims to create a creative contents tool model applicable in variety of genres.

• Cartoon and Animation Studies
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• s.41
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• pp.253-277
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• 2015

When was launched in 2014, it was immediately ranked 2nd in English gross sales record in the first half of 2014, attracting huge attention from avid game users. Colin Moriarty(2014) states that the worldwide popular game, , lies on the alternative history assumption, 'what if Nazi Germany won the second world war? In regard to this, this research addresses how the characteristics of alternative history was adopted and visually represented in FPS game trailer. In terms of research method, firstly, literatures will be reviewed about definition of alternative history and some of the previous examples where alternative history was applied in novels, films and games. Secondly, narrative composition of alternative history is categorized as three sequential phases, (1) borrowing real history material, (2) connection between real and fictional history and (3) reconstruction of history through reinterpretation. Thirdly, the live-action game trailer will be analysed by three sequential phases of narrative composition, and CG game character and background will be analysed by spatial background, characters and props. The phase of 'borrowing' has used the historic images related to the World War II, and the phase of "connection' has composited by "connection through circumstantial events". The phase of 'reconstruction' has unfolded its fictional narrative in the form of "limited fictional history" In addition to this, has constructed dystopia world through composing of historic images and CG characters by SF design. In the light of this, the narrative composition of alternative history successfully extends to game area.

• Cross-Cultural Studies
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• v.43
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• pp.405-428
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• 2016

The purpose of this paper is to examine the narrative-building method and the post-historical descriptive aspects of the movie Paradise in Service, which deals with the modern history of Taiwan. Although Paradise in Service tells the history of a certain time period, it focuses on the anguish and agony felt by people who lived during that age rather than on the meaning of historical events or interpretation of the past in terms of official historical discourse. That is, as it avoids looking at the present by composing a narrative in the descriptive historical context and from bearing weight from the viewpoint of realism, it gains the possibility of establishing a new field of discourse through a post-historical discussion using descriptive historical texts. However, the movie tries to create fantasy through a special type of licensed prostitution as a means of post-historical description. In other words, when this movie tries to reproduce the microscopic history of common people in trouble because of a historical tragedy, it considers only men and excludes "weak" women. Thus, although Paradise in Service has meaning in that it gives an example of how movies can disrupt official historical discourse and group memory and rewrite history by focusing on individuals, it is limited by its male-centrism.

• CHINESE LITERATURE
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• v.99
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• pp.61-85
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• 2019

這篇論文原來開始了於一個把 《吳越春秋》想看成小說書的意圖. 以成就那個目的的方法, 我在 這兒分析了《吳越春秋》裏面的各種敍述表現。《吳越春秋》的作者通過史實的記述不但追究了歷史的知識跟敎訓而且通過表現的方法注重了構 思與小說一樣的文體。所以作者的敍述表現在硏究 《吳越春秋》方面上不得不重視. 我發見了《吳越 春秋》裏面的重要的敍述方法如下。 第一, 作者運用了各種修辭法。作者爲了《吳越春秋》的文學的表現使用了如隱喩法⋅直喩法⋅諷喩 法⋅誇張法⋅漸層法等等的各種修辭。 第二, 作者運用了很多的對話。連續不斷的對話使文章具有展開事件的功能。此外, 我發見了對 話的使用讓讀者把握人物的性格。 第三, 作者多用了細密化的表現。描寫, 特別是人物描寫與場面描寫, 在基本上異於簡略事件的歷史記述, 這使讀者認識《吳越春秋》是一篇的初步小說。 总而言之,《吳越春秋》裏面的各種修辭⋅對話的使用⋅細密化的表現使人們覺得作者憑藉記述歷史的借口而寫成一篇的歷史小說。我信如此的筆法運用讓《吳越春秋》成一本進入小說的段階的典籍。

• Railway Journal
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• v.15 no.4
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• pp.27-35
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• 2012

• 프린팅코리아
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• s.8
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• pp.186-189
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• 2003

종이가 나오기 전에 문자의 전달을 어떻게 했을까? 이에 대한 시원스런 해답이 나왔다. 강원대학교 조병묵 교수는 최근 종이 발명국인 중국의 반지씽교수가 쓴 중국제지기술사를 번역, 출간했다. 이 책에는 제지기술의 기원에서부터 세계 최초의 식물 섬유지 등 종이에 관한 자료를 싣고 있다. 본지에서는 종이 이전의 서사재료는 무엇이 있었는지를 알아본다.

• The Korean Publising Journal, Monthly
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• s.253
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• pp.10-10
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• 1999

한 시대의 문학베스트셀러는 대중의 상상력과 감수성이 어느 지점에서 작동하는지를 민감하게 반영하는 지표다. 80년대 문학이 '이념'과 '역사'라는 거대서사를 정점으로 움직였다면, 90년대 문학은 '일상'과 '소비문화'의 미시서사로 하강했다. 성과 사랑이라는 고전적 주제 외에 여성의 정체성, 민족주의적 감수성, 흔들리는 부권과 가정에 대한 복고주의 등을 주제로 한 작품들이 베스트셀러 목록을 점령했다.

• Korean journal of communication and information
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• v.51
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• pp.156-173
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• 2010

This study analysed the narrative of and , two history documentary broadcasted on KBS, in terms of story-telling and discourse. And it also examined whether TV as mass media could provide an alternative interpretation against the dominant historical awareness. As a result, both programmes showed limitations on representing subversive point of view to the dominant ideology. At the story-telling level, firstly, they represented in a way of male-hero narrative though they were describing the history of woman, and while representing woman as a public figure they eliminated her feminity and individuality. Secondly, before evaluating woman as a historic figure they previously appreciated her appearance in a male-point of view. Thirdly, although they were telling the story of woman in a political view, they focused on love triangle, therefore failed to make her as a public figure. The discourses of both programmes were anchoring the existing historical interpretation instead of offering an alternative historical imagination. The narrator who were telling history at the studio in a omniscient viewpoint took a role as a meaning definer, placed at the highest rank in the hierarchy of discourse structure. Especially in , the dramatized images to cover lack of visual data helped anchor the patriarchal narrative and reduced the possibility of subversive interpretation on historic figure.

• Proceedings of the Korea Contents Association Conference
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• 2015.05a
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• pp.109-110
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• 2015

영화에서 당시 시대 문화를 반영하여 민속적 색채를 어떻게 나타내었는지 분석한다. 이는 두 영화의 배경인 로마와 스페인의 서사를 확인함과 동시에 테마를 작곡할 때에 역사를 반영해야 한다는 사실을 확인 할 수 있다. 영화 "Quo Vadis"와 "El Cid"에 등장하는 음악의 성격과 시대 배경에 따른 차이점을 분석하여 서사 영화에 사용된 멜로디 작곡법을 증명한다.