• The Journal of the Convergence on Culture Technology
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• v.7 no.4
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• pp.267-272
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• 2021

This study's purpose is to investigate the effects of reading movie scripts aloud in non-face-to-face general English courses on international students' English ability in the COVID-19 era. A general English class was delivered once a week for 15 weeks to 47 international students at a Seoul-based university. The animated movie Tangled and its script were used as learning materials. Biweekly, students had to watch video lectures using the university's learning management system(LMS) and read scripts aloud through Zoom. In the video lectures, the teacher went over specific vocabulary and interpreted the movie scripts in easy Korean. For the second activity through Zoom, international students read the movie script aloud individually and in groups. The post-test revealed significant improvements in both reading and writing, as compared to the pre-test. Through the study's survey, participants exhibited positive attitudes in affective domains(understanding, satisfaction, interest, and recommendation).

• Proceedings of the KAIS Fall Conference
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• 2011.05b
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• pp.550-553
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• 2011

영화산업의 메카라 불리우는 헐리우드를 비롯한 세계 영화계는 극심한 소재의 고갈로 비슷비슷한 내용의 반복, 기존의 영화를 리메이크하여 제작하는 관행이 점차 커지고 있다. 이런 현상은 다른 영역의 콘텐츠를 영화로 재가공하는 'One Source Multi Use'의 확산을 가지고 왔는데, One Source Multi Use의 원천 소스로 가장 각광받고 있는 것이 만화다. 미국은 1930년대 초반부터 코믹스라는 장르의 만화산업이 발전하여 방대한 그래픽노블과 코믹스를 원천소스로 '슈퍼맨', '배트맨', '스파이더맨' 등의 시리즈를 내놓고 있다. 한국 역시 많은 수의 만화원작을 보유하고 있다. 이는 한국이 다른 나라와는 확연하게 차이가 나는 만화생산 및 소비시스템을 가지고 있는 것에 기인하는데 그것이 바로 만화가게로 일컬어지는 대본소 시스템이다. 대본소를 통한 만화의 보급은 가공할 만화의 생산을 주도했고 일간지를 통해 연재된 장편만화 역시 다른 나라에서는 찾아보기 힘든 시스템이다. 근래에 이르러 문화산업의 원천소스로 각광받는 만화는 스토리텔링을 근간으로 하기에 다양하게 다른 매체로 전이되고 재생산이 가능하다. 이에 본 연구에서는 단지 만화로서가 아닌 콘텐츠로 활용될 수 있는 만화원작의 필요조건이 무엇인지 분석하고자 한다.

• Journal of Digital Contents Society
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• v.18 no.8
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• pp.1537-1542
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• 2017

Emotion plays a key role in both generating and understanding narrative. In this article we analyzed the emotions represented in a movie script based on 8 emotion types from the wheel of emotions by Plutchik. First we conducted manual emotion tagging scene by scene. The most dominant emotions by manual tagging were anger, fear, and surprise. It makes sense when the film script we analyzed is a thriller-genre. We assumed that the emotions around the climax of the story would be heightened as the tension grew up. From manual tagging we could identify three such duration when the tension is high. Next we analyzed the emotions in the same script using Python-based NLTK VADERSentiment tool. The result showed that the emotions of anger and fear were most matched. The emotion of surprise, anticipation, and disgust, however, scored lower matching.

• Journal of the Korea Society of Computer and Information
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• v.26 no.10
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• pp.9-17
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• 2021

Humans are social animals that have gained information or social interaction through dialogue. In conversation, the mood of the word can change depending on the sensibility of one person to another. Relationships between characters in films are essential for understanding stories and lines between characters, but methods to extract this information from films have not been investigated. Therefore, we need a model that automatically analyzes the relationship aspects in the movie. In this paper, we propose a method to analyze the relationship between characters in the movie by utilizing deep learning techniques to measure the emotion of each character pair. The proposed method first extracts main characters from the movie script and finds the dialogue between the main characters. Then, to analyze the relationship between the main characters, it performs a sentiment analysis, weights them according to the positions of the metabolites in the entire time intervals and gathers their scores. Experimental results with real data sets demonstrate that the proposed scheme is able to effectively measure the emotional relationship between the main characters.

• The Korean Publising Journal, Monthly
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• s.110
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• pp.14-17
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• 1992

소설가는 지금 영화나 방속극에서 대본작가가 맡은 것과 비슷한 역할을 맡을 것이다. 이미 우리사회에서 가장 큰 영향력을 지닌 작가들은 텔레비전 연속극 작가들이라는 주장을 펼 수도 있는 상황이 되었다. 시인은 노래의 가사를 만드는 일에 힘을 쏟게 될 것이고, 평론가는 그런 예술작품들의 비평자라기보다는 소개자가 될 것이다.

• (The) Research of the performance art and culture
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• no.35
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• pp.229-247
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• 2017

This study was conducted through the typological analysis of theatrical activities and playscript of Packaging Troupe, which was a wandering theater troupe. It seems the activities of the packaging troupe were very active about in the 1950s. They approached to the public with various repertoires and gained popularity during the process. The playscript used in their plays can be divided into several types such as Yi dynasty drama, historical drama and modern drama and their titles are almost same as or similar to those used in Changgeuk troupe (classical opera), Female Gukgeuk troupe (Female classical opera), or Female Nongak troupe (Female farm musical band). Also, as themes, subject matters, and characters were partially same, the characteristics of previous theatrical activities could be reviewed through the playscript of packaging troupe. Also, the characteristics of the playscript of packaging troupe can be found in the list of gramophone record. The changes in popular culture can be examined in the flow of plays with various forms such as theater, film, and gramophone through the comparison between the characteristics of playscript types of packaging troupe around in the 1950s and the list of gramophone record. A typological analysis of playscript of packaging troupe confirmed the activities of packaging troupe lasted around in the 1950s. Also it can be inferred from Hyeopryulsa, Changgeuk troupe, Female Gukgeuk troupe, or Female Nongak troupe, which used traditional subject matters as repertoire of performance. Those were possible because repertoires were composed and contents changed according to the needs of the public. The changes can be also confirmed through the list inserted in the gramophone record. The association can be inferred through the same title as that of the playscript of packaging troupe and similarity of performance curtains and subject matters. As such, the interest and flow of popular culture can be examined through the types of playscript of theatrical activities of packaging troupe.

• 한국어정보학회:학술대회논문집
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• 2016.10a
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• pp.249-251
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• 2016

다중 화자 대화 시스템에서, 시스템의 입장에서 어느 시점에 참여해야하는지를 아는 것은 중요하다. 이러한 참여 모델을 구축함에 있어서 본 연구에서는 다수의 화자가 대화에 참여하는 영화 대본으로 구축된 MovieDic 말뭉치를 사용하였다. 구축에 필요한 자질로써 의문사, 호칭, 명사, 어휘 등을 사용하였고, 훈련 알고리즘으로는 Maximum Entropy Classifier를 사용하였다. 실험 결과 53.34%의 정확도를 기록하였으며, 맥락 자질의 추가로 정확도 개선을 기대할 수 있다.

• 프린팅코리아
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• v.8 no.4
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• pp.78-83
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• 2009

"책갈피 사이에 피어난 곰팡이가 풍기는 쾨쾨한 냄새, 벽면을 가득 채운 무협지와 순정만화, 책장을 넘기는 소리, 웃음을 참지 못하고 키득거리는 학생들..." $30{\sim}40$대라면 누구나 기억하고 있을 추억 저편 만화방의 모습이다. 일명 '대본소'라고도 불리는 만화방은 $70{\sim}80$년대 마땅한 놀 거리나 휴식 공간이 없는 학생들에게 유일한 휴식처이자 맘껏 상상력을 펼칠 수 있는 '해방구'였다. 젊은 시절이 지나만 기억 속으로 사라지기 쉬운 만화가 최근 들어 연극이나 영화, 드라마로 만들어지는 사례가 늘면서 다시 생활 속으로 들어오고 있다. 한국만화 100돌을 맞는 올해는 정부 차원의 만화 육성방안이 발표되고 국내외 홍보나 기념사업도 풍성하다. 한국 만화가 전 국민의 사랑을 받고 세계 시장에서도 위상을 높여 부활의 꽃을 피우는 새로운 세기를 열지 주목된다.

• The Journal of the Korea Contents Association
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• v.14 no.5
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• pp.487-497
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• 2014

The purpose of this study is to investigate the efficacy of interaction using Wiki in communication-oriented classes taught by native teachers on the incidental improvement of productive vocabulary knowledge. Eighty two university freshmen participated in the study and they were divided into two groups. Thirty eight students(Process Group) received process feedback from the teacher while forty four students(Result Group) received result feedback. They were given a short movie project working in a group of four or five people to practice interaction between peers and between students and the teacher. Data were collected from one receptive and three productive vocabulary knowledge test scores. The results showed that interaction using Wiki was conducive to the growth of productive vocabulary knowledge incidentally due to continuous opportunities to use vocabulary. The students of process feedback group made greater gains of productive vocabulary than those of result feedback group. Based on these results, pedagogical implications are discussed.

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.83-91
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• 2019

Gameplay exists not only in game activities, but also in other art forms. An animated film with strong gameplay whose gameplay narrative follows the presupposition principle, achieved through unimaginable sound effects, exaggerated visual styling, hypothetical time and space concepts, fictional storylines and character performances. The strength or the presence or absence of gameplay in animated films is reflected in the grasp and use of these gameplay elements in the process of animated film narratives. The gameplay narrative of animated films fully utilizes the characteristics of gameplay thinking. In the process of scriptwriting and narrative, it combines entertainment, action, adventure, competition and other elements to fully reflect the characteristics of "gameplay". Gameplay narratives often use the strategies of reverse setting, repetition and interaction, and rules and challenges setting, which not only enhances the fun of animated film narratives, but also attracts the attention of the audience, which then can enhance the audience's viewing experience.