• Cartoon and Animation Studies
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• s.43
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• pp.103-122
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• 2016

Inside Out(2015) and The Spiriting Away of Sen And Chihiro(2001) have similar narrative structures and scenes. This paper aimed to compare and analyze the intermedial relationship between the two animations. The result of the study showed intermedial relationship between Inside Out and The Spiriting Away of Sen And Chihiro, which was produced and released about 14 years before. However, it was hard to say the former referred to the system of the latter and adopted it. When seen from the narrative structure of exposition, development, crisis, climax, resolution, in Inside Out, various motifs of The Spiriting Away of Sen And Chihiro were restructured, creating a new feeling. This study considered intermediality as something that a single medium overcomes limitations and is transformed through materials, or media, and an important way to provide consumers with contents of better quality, and using Rajewsky's frame of analyzing intermediality, compared and analyzed the relationship of the two animations.

• Journal of Korean Classical Literature and Education
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• no.35
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• pp.153-193
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• 2017

This study explores the creation and enjoyment of Kuwoonmong (九雲夢) using a reference system called the cultural imagination, which is related to the Yin-Yang (陰陽) and Wu Xing (五行). When Kim Manjung wrote Guwoonmong, he may have composed figures and events based on this imagination. In particular, when he designed the eight seonnyeo (팔선녀), he set the order such as Gap (甲), Eul (乙), Byeong (병), Jeong (丁), etc. and characterized them according to the celestial stem (天干). Thus it was easy to avoid overlapping of characters and to construct various stories and relationships between them. The table below shows the characters of Kuwoonmong corresponding to the celestial stem. In not only the individual person but also the narrative world, Kuwoonmon demonstrates Yin-Yang and Wu Xing's imagination. In this respect, Kuwoonmon can be considered a large symbol encompassing the abstract theory of Yin-Yang and Wu Xing. Of course, the writer, Kim, Manjung would not have tried to symbolize the principle intentionally. However, he was also present in the environment of the cultural imagination that has been formed over the years. The same is true for the contemporary recipients of Guwunmong. They would have had a pleasant experience applying the cultural imagination and strengthening their familiar world view and human view.

• Archives of design research
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• v.18 no.2 s.60
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• pp.111-122
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• 2005

Public Service Advertising(PSA) is the integrated marketing concept including strategy and technology in all its aspects that pursue the changes of community to seek an agreement of its members by the intentional and the target oriented way. PSA to the exclusion of commercial intention reflects the current social flow and subject since it is focused to the social issue. PSA plays an important role in creating the further cultural value, and also affects present cultural value to advertising message. In this aspect, this study is very valuable to design the plan for further effective management of advertisement and to analyze communication strategy of PSA. This study is to make dear the nature of PSA by the analysis of contents of visual image and linguistics' factors in actual produced and broadcasted TV advertising, called 'Protection of environment' In the results, PSA related the environment is working to linguistic-centered persuading message corresponding to visual factor, this intends to educate and instruct the consumers in 1980's. PSA, therefore, shows a non-description nature without story line and a hero(heroin) on it. In contrast, after 1990's, PSA was made up image-centered and maximized the effectiveness public campaign through the activating consumer's judgement and intervention. We are able to know that it contributes to considering and persuading the consumer to suggest the story format through the visual way to deliver the message. This study of relationship between visual image and linguistics is a common trend appeared in all media including today's advertising, and may be a remarkable result to present proper direction of PSA campaign.

• Cartoon and Animation Studies
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• s.40
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• pp.177-209
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• 2015

The purpose of this study is to determine the meaning and function of black and white in the comic strip, which are mounted on the book pages. The role of space in comic strip, compared to the role of time in the cinema, enable to feel the role of the time in the book. Therefore storytelling of comic strip has been placed in the inseparable relationship with space. My aim is to think about the black and white meaning in the visual media, especially the use of black and white which is highlighted in the comic strip. Black and white doesn't mean a loss of color in the comic strip but it works around 2 important notions : readability, modernity (with minimalism). In comic strip, 'black and white' is not a true colour but it is complex items which indicate symbolic significances. Moreover it is also a notion which enhance 'existence and absence' and 'visible and invisible'. That's why to analyze and to understand how the space is organized in comic strip page, i chose several examples extract from black and white comic strip.

• (The) Research of the performance art and culture
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• no.36
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• pp.103-135
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• 2018

The objective of this study is to re-examine the theory of Pansori (Korean musical storytelling genre) originating in Chinese tale-song literature. The said theory, first presented by Kim Hak-ju, succeeded in confirming the common points and association between Pansori and the Chinese tale-song literature, but failed to present the supporting ground for proving that Pansori originated in the said Chinese genre by comparing the contents of works and their performance type. In actuality, it was confirmed that the common factors of Pansori and the said Chinese genre naturally resulted from the performance situation where both genres should involve one singer chanting epics and simultaneously performing various roles and functions. In addition, it was confirmed that such identity of performance environment made the Pansori clown theory and the Gosagye tale-song(鼓詞系講唱) theory very similar. In addition, it was confirmed that, for one singer to present the wide spectrum of epic to the audience, the realistic description was the main part of literary style of both tale-song literature and Pansori, and furthermore it was revealed that, in the literary style of both tale-song literature and Pansori, the mixed use of time and temporal penetration were free. If a long performance of musical storytelling can be conceptualized in terms of 'tale-song' or 'oral epic', the Chinese tale-song literature and Pansori had similarity in the bigger frame of 'tale-song' or 'oral epic' and yet developed to have their own features.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.133-185
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• 2021

This study is an attempt to connect television drama M, which deals with abortion issues, with theoretical focus such as materiality, relativity, and agency, to understand diffractively as an cartography of agential reality. According to Karen Barard's Agential Realism, Television drama M is a sociocultural phenomenon produced by the agential intra-actions of material-discursive apparatuses such as medical technology, ghost stories and legends, and male-affect. The 1990s repeatedly revealed "hate" through apparatuses such as technology, discourse, and affect, which are directed at women's gendered bodies. The material -discursive practice of plastic surgery and abortion proves that the agential reality surrounding the body is closely intertwined with medical technology, as well as with the genderized hate. Another related material-discursive phenomenon is rediscovery of the legend and fad of the ghost story, which is also produced from the hate of the denaturalized body, which is once again expanded and reproduced. Appearing in this environment of affect, M enacts diffraction, which is based on backlash, lacking posthuman implications for the materialization of the techno-body. M puts humanistic assumptions about "Man" as a universal definition, historically framed and defined in context. But it is not universal and it is gendered. The current time when the political turmoil surrounding medical technology, discourse, and bodily matters is violently intra-acted is the time to carefully account and respond to the alternative definitions of human beings that M has rejected.

• Journal of Korea Entertainment Industry Association
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• v.13 no.1
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• pp.1-9
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• 2019

In this paper, it is predicted that the tendency of planning and genre films to produce high - quality films will continue, but it is necessary to have high value and meaningful films and solid storytelling. From the blockbuster warships to arts and low-budget films, the movie genre is centered around fiction and storytelling. However, in the case of Princess Deokhye, it is difficult to recognize any categories of entertainment or artistic due to the fact that it is highly visually and has a high historical status and low awareness. And the distortions of the facts have caused a lot of controversy. However, it seems that Dongju and Park are usually composed of individual - oriented narratives and can be freed from the artistic approach and historical facts in the material. In addition, historical facts should not be distorted or exaggerated. Through this study,

• The Journal of the Korea Contents Association
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• v.14 no.2
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• pp.72-83
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• 2014

Film is a visual art. A process of film totally depends on our sense of sight. It indicates that a way of delivering narrative in the film is "showing", not "telling". There has already been established theories about "who sees" and "who tells" in narratology. It explains who the narrator is and how the narrator delivers in literary works which is represented in terms of "Point-of View". Therefore the study contents construct internal formal elements of the narrator and point of view into 2 individual researches, and the result can be summed up as below. From a narratological perspective, the narrator has roles and deeds as a narrative mediator who mediates the story and leads the story as presenting the origin with images and voices in the text extra and intra world through the process of producing the narrative inferred. To eliminate ambiguousness the term 'point-of view', this article applies 'focalization' theory to analyze narrative structure of film. The result of analysis shows that there are three focalizers in film; director, protagonist-character and camera. And aspects of film can be varied by distance of each focalizer. These distances between focalizers limit amount of visual information.

• The Journal of the Korea Contents Association
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• v.13 no.5
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• pp.58-70
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• 2013

This study focuses on the fact that intrinsic motivation which becomes the force to promote narrative is reinforced as a polyphonic structure through the psychodynamics of fear and desire internalized in a character, and from this perspective, it analyzes character rising strategies shown in Pixar's movie, . To verify fear and desire of a character, this study uses Enneagram personality types theory as the frame of analysis and reaches the following conclusions: (1) The main character, Carl's emotion originated from fear and desire was metaphorized as Muntz and Russell each, so the inside psychodynamics and the outer event visualizing it are set as contrapuntal composition. (2) However, inversely to the enhancement of Carl's polyphonicity, that excellent strategy works as the limit that restricts the psychodynamics of Muntz and Russell to a certain range. Lastly, it is expected that this study will be suggested as a sort of methodology about character rising strategies as turned into the database to which the result of follow-up research will be added, too.

• Korean journal of communication and information
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• v.50
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• pp.94-120
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• 2010

This Studies interpret Kim Ki-duk's film in terms of shamanistic world views. In this studies, the ritual properties of Kim Ki-duk's film were trying to reveal. To do this, Kim Ki-duk's entire 14 works were analysed. Specifically, shamanistic characters, their actions, themes, ways of storytelling, mis-en-scenes, and visual settings were focused on. The results show, fantastic and ritual properties were represented directly and the very archetypes of Korean cultural shamanistic symbols were embedded in his films. Shamanistic symbols and narratives in Kim Ki-duk's films were related to the main themes of harmony between suppressing men and suffered women. This symbols and narratives could be interpreted through the sacrifices of characters, exorcistic behaviors, expressions of death etc. In the long run, as visionary or anti-realistic author, Kim Ki-duk has been performing shamanistic ceremonies(in Korean "Gut") with his whole works. With these findings, processes from preparations to completions of Gut-Pan (Shamanistic ceremony) in Kim Ki-Duk's works were tried to reconstruct.