• Cartoon and Animation Studies
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• s.36
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• pp.91-119
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• 2014

This paper analyzed and compared the storytelling of female characters in Korean, American, Japanese animations and revealed the ideal image of woman of each culture. Chapter 2 analyzed the superficial images of the female characters and figured out how these images reflected awareness of a reality. This paper revealed that female characters act as a representative cultural symbols and embodies the paradigm and the order of those cultures. In Chapter 3, this paper analyzed and compared how the female characters solve the dramatic events in the entire narrative structure, and revealed the cultural implications of their action and these events. Korean characters were imitating the idols as an extension of the real world, and American characters were drawn as unreal Super Heroes who were utilized to enhance the order of the world if the United States. Japanese characters, the magical girls are led to create a magic circle and then become surreal goddesses. In this way, this paper revealed that female characters in animation reflect the male-centered ideology of each culture according to the awareness of a reality and cultural paradigm.

• The Journal of the Convergence on Culture Technology
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• v.9 no.2
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• pp.367-372
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• 2023

This study analyzed the use of scriptwriting and hologram technology for storytelling in the production of locally-centered cultural and artistic content. The musical <WolhwaJeon>, produced in the Gangneung area, was examined as a case study. The process of creating the script for the performance was used to establish the self-identity of the character "carp" and the stage visualization of the folktale "Yeonhwa." Furthermore, the use of hologram technology to actualize the inner expressions of the characters, deliver information, enhance spatiality, and visualize fantasy elements was examined. Through this approach, educational information about local folktales was provided to the local residents, and their pride in their region was heightened. This locally-centered content requires continuous development in a modern society that pursues cultural diversity, and future research is needed to produce and develop traditional and cultural content in other regions.

• Journal of English Language & Literature
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• v.53 no.2
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• pp.281-306
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• 2007

M. M. Bakhtin's dialogic concept of multi-voiced discourse allows us to open up the text of The Clerk's Tale and to account for its radical heterogeneity. Once we recognize the multi-voiced character of The Clerk's Tale, then what was heretofore regarded as discontinuous or ignored can be seen as the clash of several different world-views. Such a conceptual framework gives an added depth and scope to such thematic subjects as sovereignty, the status of women, and rhetorical style. There are three different and antagonistic voices involved in the tale's narration. These voices project different viewpoints or world-views, and they consequently engage each other in a polemic debate. Their relationship with each other is discontinuous and dialectical rather than continuous and harmonious. The first voice is the Petrarchan voice of moral allegory, which is the voice of tradition, authority, and high seriousness. This voice of moral allegory regards the story of Griselda as an exemplum of spiritual constancy and virtuous suffering. The second voice is the Clerkly voice of pathos based on human experience and feeling. This voice is defined by the Clerk's asides and apostrophes interspersed in the narrative proper, which function to engage the Petrarchan voice in a polemical debate. The third voice is the voice of parody, nominally identified with Chaucer the poet, which is located in the second ending, including Envoy. Whereas the other two voices are earnest and serious, the voice of parody is irrelevant, playful and antagonistic to both the Petrarchan voice of moral allegory and the Clerkly voice of secular humility.

• Proceedings of the Korea Contents Association Conference
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• 2006.11a
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• pp.176-179
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• 2006

Tewoo refers to a traditional group of Jeju's rafts for fishing in the rough Jeju sea in the past. We propose a mobile game called 'TewooGwang' based on a fishing boat called 'Tewoo', which has a scenario of conquering the Jeju sea using unique characters symbolizing the Jeju's ocean culture. This game is a new game, which uses a character of the fishing boat 'Tewoo', the background based on only Jeju's features, the high portability of PDA, and multimedia technology. It is different from simple sports games and has various game scenarios according to interactions of Tewoo character. The structure of this game represents a storytelling, which integrates Jeju culture into cyberspace. There are stories in this game and users also can make their own stories. Thus, this game enables hi-directional communications. It presents an imaginative space, which can induce a conflictive structure made by each user, and spatial provability. Many young Jeju tourists will enjoy it because this game provides a dynamic story. Furthermore, we can contribute to serving the value-added Jeju culture of being upgraded one step through this Jeju culture based game.

• Journal of the Korean earth science society
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• v.42 no.1
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• pp.65-75
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• 2021

Over the past decade, the number of national geoparks has rapidly increased, and 13 areas are currently designated as geoparks. After Jeju Island (2010), Cheongsong (2017), Mudeungsan (2018), and Hantangang River (2020) National Geoparks were listed as UNESCO Global Geoparks. Despite the continuous increase in the number of national geoparks and UNESCO global geoparks, the public interest in geoparks and the effect of regional economic development by geoparks are not yet very significant. Some geopark management organizations have developed geopark characters to appeal to the public through intimacy and friendliness, utilizing parks for education and tourism. However, the characters are not being utilized properly due to a lack of plannings, expertise, storytelling, and management. For geopark characters, which have been neglected since development, to perform their original roles, content production based on appropriate budget compilation and analysis of consumption trends in the character market is necessary. Instead of merely using geopark characters, geopark characters should be loved by the public, as well as local residents.

• 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.

• Cartoon and Animation Studies
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• s.49
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• pp.25-52
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• 2017

As the expansion of the cultural industry expands, various competitive structures are formed and the methodologies for producing commercial success are being discussed. Among them, Hollywood studios use political relationships and apply ideologies that can produce the best interests. Also, they use a structure that can convey this ideology, which is a mythology. The myth has satisfied the public for a ling time. Campbell suggested that strategies come from the myth, and the ideology emerged as a result of what mythology has to do with existing powers. Disney and Dream Works use the mythology and combine their own values into ideology. Disney and Dream Works choose conflicting ideologies in a different growth background. If Disney is recognized as an educational animation by the ruling class, Dream Works are supported by the public for their actions against Disney. Disney has conservative and patriotic personality, Dream Works is more liberal and progressive. Disney's structure came out first, and Dream Works parodied it. So we can compare Disney and Dream Works with similar myths to create a storytelling structure that embodies ideology. As a result, Disney and Dream Works have been choosing the 9 stages the key of Ideology form the 17 stages of the mythology and reduced them to the introduction, growth and completion. In the first units of the introduction, Disney dealt with the subject of social leaders who sacrificed to the ruling class and Dream Works hinted at the overthrow of the ruling class through the irony. If Disney had deployed colored races in the main characters, Dream Works used a variety of races from the main characters to others. In the second units of growth, Disney organized the process of accepting the value of the ruling class, and Dream Works showed the individual values, not the values of society. In the third units completion, Disney showed the main character who live in the world of the ruling class rebuilded, and Dream Works removed the ruling class and went back to the Individual life. Through the structure of Disney and DreamWorks, we learned how to utilize the mythical structures that transform according to ideologies. The right way to organize works will require the strategic approach to storytelling.

• Cartoon and Animation Studies
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• s.28
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• pp.235-263
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• 2012

Regarding the theme park business as an area of cultural content business, this study focuses on the trend of pursuing indoor theme parks as a small-scale small capital strategy escaped from the existing approach oriented to large-scale outdoor complex theme parks. It is because although existing large-scale outdoor complex theme parks require the capital with the scale of hundreds of billion won and also high-level technique and the latest operational know-how that they have a great barrier for new entry as well as enormous risk, the rent indoor theme parks succeed in market entry with efficient risk management and flexible market strategies. Thereupon, this study examines the current status of the children's indoor theme park market with Korean characters as their theme as a new market among the indoor theme parks and also investigates the market strategies of this market in the two aspects of expansion: the expansion of Korean characters' property value and the expansion of the local theme park market. For that, this article reviewed the advanced researches on theme parks and divided the types of theme parks existing in Korea with the criteria of classification by space and theme or classification by main users. Also, among the children's indoor theme parks with Korean characters as their theme, this study visited five ones located in the capital area to examine the current status. And about two located in the capital area and also four in the local area, the current data were received from the persons in charge of the companies for analysis. Also, with the subjects of spectators visiting the 'DIBO VILLAGE, Cheonggye-cheon' newly opened on April 25th, 2012, the research on satisfaction was conducted for analysis. Through that, this study analyzed the structure of the existing children's indoor theme park business with Korean characters as their theme and suggested the ground to analyze the effectiveness of market strategies being implemented. It is expected that this study will establish the clues of systematic and profound discussion for the indoor theme park business that can be said to be the niche market of the theme park business and allow the small-scale areal indoor theme parks to be examined as a significant business model for the local theme park industry. In the aspect of character business as well, it is expected that this will give a chance to establish a new model of spatial storytelling expansion in terms of the property value of Korean animation characters.

• Journal of Popular Narrative
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• v.26 no.2
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• pp.87-122
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• 2020

This study explores the method of representation of traumatic history in 2D horror game Detention developed by Taiwan game production company Red Candle through an analysis of its method of storytelling. Unlike conventional public media, video/digital games are based on interactivity, in which game players engage in the narratives. Thus, the relationship between players and the history in the game world may also change. This research investigates how the players build their way of remembering and recognizing the past in a different relationship. Detention, which was well received, not only in Taiwan but also around the world upon its launch in 2017, is set in a middle school during the martial law era in Taiwan in the 1960s. In the game, the main character encounters her lost memories in the process of following clues and game rules, and finally realizes she is implicated in the 1960s' event. Detention was cinematized after the success of the game. The film achieved enormous popularity both in terms of box office success and criticism. In this paper, the strategy of the game's storytelling is introduced in comparison to the film's approach in the representation of historical events. In particular, the paper explores elements such as the interactivity of the game medium, narrative fragmentation, quests, hints and cues, and the horror genre, that asks users to understand history beyond the game world differently from the point of view of other media. Though this study, it can be considered that the digital game is a medium exploring history in a serious manner. In particular, Detention invokes the matter of game-mnemonics as well as cine-mnemonics. Compared to plentiful research in cine-mnemonics, game-mnemonics has not been extensively studied to date. Therefore, through the analysis of Detention, this paper explores the relationship between digital games, history and memory.

• The Korean Journal of Elementary Counseling
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• v.7 no.1
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• pp.111-133
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• 2008

The purpose of this study was closely to explore the guidance experiences of senior elementary teachers who have had over 30 years of teaching experiences in elementary school based on interpretive(or hermeneutic) inquiry. The entry research question was 'What are the guidance experiences of senior elementary teachers like?' Seven senior elementary teachers working for O elementary School in G city participated in this study voluntarily. Each participant was interviewed twice in a consecutive manner. 14 periods of interview were completed all together and each period took about 40-60 minutes. In conclusion, this study conceptualized the guidance experiences of the senior elementary teachers(participants) as follows: First, the concepts of guidance held by the participants were conceptualized as 1) supporting and caring activity helping students to lead joyful school life, 2) assisting activity helping students to grow on good basic life habits, 3) character building activity helping students to lead integrative growth. Second, the fields and contents of guidance held by the participants were conceptualized as basic life habits, manners, and health & safety. Interestingly, these concepts were evolved in connection with their personal, practical teaching experiences rather than in-service teacher education. Third, the guidance methods frequently used by the participants were co-work with parents, exemplary storytelling, counselling, and praise. The participants applied these methods differently according to the grade, individual difference, and school curriculum policy to some degree. Fourth, the participants have experienced a lot of struggles with students, teachers, and parents in doing their guidance practices throughout the whole teaching career. Their guidance experiences commonly shifted from more teacher-centered or authoritative to more student-centered or relational way as their teaching years accumulated. Interestingly, all the participants more or less lived as lifelong learners to create their own right space as senior teachers in today's competitive and challenging landscape. This study strongly suggests that responsible teacher education can playa great role of enabling senior teachers to cope with guidance issues successfully. Compared with the speedy social change, the teacher education in Korea had been so authoritative, provider-based, subject-based until recently and it have not met the needs and wants of the elementary teachers in field. This trend has significantly hindered them from catching up with the needs of the speedy social change in terms of contemporary guidance issues. This study is limited in that the data is solely collected based on interview. So, an observational research is strongly suggested in order to uncover the situated understanding of the guidance experiences of elementary senior teachers.