• 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.36
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• pp.1-17
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• 2014

The purpose of this study was to identify ironic characteristics that appear through ironic reversal in formal aspect and foreshadow structure examined through the progression stage of irony within the narrative structure in contents aspect. This study is intended to research how ironic expressions is embedded in latest full-length animation created by major animation production companies in America, such as PDI Dreamworks and Pixar. As identified in this study, the irony can be defined into two categories. First, Irony appears dramatically in a last scene through the process of prediction and implication after setting up a situation. It delivers laughter as it is mainly used to portray characters or to set up backgrounds for incidents. Secondly, foreshadow that appeared in the early part of animation in relation to irony was revealed with a surprising twist with the cause-and-effect relationship in the middle or end of the play. The irony strengthens dramatic elements and was used to make the story richer. By analyzing two american full-length animation films, various consecutive ironic expressions in narrative, which is the reversal irony in continuous scene or irony used with foreshadow were identified.

• Journal of Digital Convergence
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• v.16 no.11
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• pp.353-361
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• 2018

The purpose of this study was to explore the lived experiences of university students who were placed under academic probation. A qualitative research design was used to understand the experiences of students. The data were collected using individual in-depth interviews with 4 students who had experiences of low academic achievements at least once during 5 semesters. Low self esteem was the main issue in this study and inner struggles were identified within 4 themes: Outstanding students controlled by helpers; A costume play as a outstanding student; Realize that I am a under academic achiever; Realize who I am and what I have to do. This study identified that low academic achievement brings to low self esteem seriously, however, human being has strong resilience in the traumatic circumstances. Thus, it is absolutely necessary devoting efforts to develop suitable student supporting programs in the way of inner and outer network systems.

• (The) Research of the performance art and culture
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• no.41
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• pp.219-255
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• 2020

This article was triggered by Victor H. Mair's book 'Painting and performance'. The book explained that Buddhist paintings are common in the area where Buddhism was spread, and there are also performances using them. And although it has nothing to do with Buddhism, it has been shown that this form of performance can be global. However, the problem was not 'Korea'. It was because there was no record or transmission of the corresponding performance soon. In this situation, the landing method of Samcheok stable temple was announced in 2018. On the one hand, the academic community is very pleased, but on the other hand, it is troubled. The worries are summed up as 'synchronic and diachronic universality'. Is the landing method inherited from the Samcheok stable temple a unique type of temple? Otherwise, it is a question of whether it has been passed down or is it universal at the national level. However, prior to this essential question, we do not yet know the full picture of the stable landing method. So this article was prepared to show the overall outline of the stable landing method. There is a 'picture' in common throughout the landing method, and understanding how to operate it in various ways is the first step in understanding the landing method. There are five repertoires (which are called main halls) that are considered important, and more than that. What these repertoires have in common is the narrative structure of a Buddhist character. In this narrative, the most important thing is the revised figure, and it was the earthly method to inform the contents of the revised figure in various ways. In the case of Byeonsangdo, which serves as a clue to the narrative, there was a problem that could not be seen in the evening without light, which required special design. It is the way of shadow play and Yeongdeung. In other words, there are three types of performances in the landing method. The first is the method of using reparation, and the second is the method of using shadow. The third is the way of eternity. This method is not a selection based on the contents of the repertoire, but a selection based on the performance environment. If there is light and you can see the picture, use reparation. However, in the evening, it was impossible to see it dark (when there was no electricity in the past). The use of the visual method as a tool in this method is to confirm the transition to a visual culture that is a step further from the level of culture. Moreover, unlike the epic narrative, the power of the implied image provided an opportunity for viewers to experience the mystery of Buddhism through emotional stimulation.

• Cartoon and Animation Studies
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• s.33
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• pp.469-502
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• 2013

Webtoons are popularly consumed in Korea. Especially the 'Dailytoons', which are composed of short episodes, are the most popular form of webtoons. This study focuses on the specific narrative structure of the dailytoons, and also tries to figure out what makes webtoons so popular. This study tried to analyze the special features of figures, events, and backgrounds of webtoons. Particularly in webtoons, Korean metropolitan is employed as a background and the daily life of the lower middle class in this big city is importantly used in the story. Each cut of a webtoon consists of simple words and images, and it shows the life of modern people and the way they recognize the reality. The important thing is that the image and the narrative of one cut often appears contradictively. 'Irony' occurs in the process of combination of the words and images. And the life of the lower middle class is depicted 'fun-and-sadly' through irony. For example, the main characters of webtoons are portrayed as persecuted victims because of their lack of information or ignorance. At this point, they are described ridiculously by a play on words. In addition, webtoons often presents twist plots using the scroll bars and margins of 'web' interface. Also it uses parody to show reality in satire. With irony, webtoons represent the daily life of the public, which is cynical as well as humorous. This study tried to suggest that webtoons should attribute its success to 'irony' in its narrative.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.49-62
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• 2020

Musicals are plays in which songs and dances are closely aligned with the plot development of the play, and songs and dances develop specific situations and a series of events. In particular, songs perform a fuction of causing the significant changes and emotional ventilation and amplification in the play by specifically capturing the goals and actions the characters are aiming for. This paper focuses on the song that takes on the function of the plot deployment, defines songs that embody actions and stories on stage' as 'action songs' and highlights their role and importance. Action Song is not a clearly defined or prescribed term in Musical. However, 'Action Song' is a song about how a character's desire or motivation for action, given as a 'character song' inserted at the beginning of an integrated musical play, provides a conflict that is a central event of action. In other words, 'action song' means a song that organically combines music and narrative by conveying the action on the stage as a song with lyrics. In addition, it is a song that moves the plot forward and contains a series of events or actions that are the material of the plot. This paper is intended to summarize the concept of'Action song which is not well known to us, and to lay the foundation of the stud, learned the concept, function and efficiency by the analyses of script and music of the musical . As a result, action songs accumulate and amplify tension caused by conflicts and induce the audience to immerse in their emotions. At the same time, the action song multiplies fun and interest of the play while the audience's expectation increased for the next scene after the action song and the progression of the play with single action makes the contents of the drama to be understood clearly.

• The Journal of the Korea Contents Association
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• v.20 no.1
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• pp.364-377
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• 2020

Although it is never easy to create charming characters that people can relate to, well-formed characters have the power to enable the audience to not only empathize but identify with them. Thus, there is a need for us to examine the parts that make up a well-formed character. According to empathy theory, when the character in the play has a human face that is not different from me, I can feel familiarity and human empathy. Rather than perfection without loopholes, I relate to and sympathize with someone who looks similar to me, with many mistakes and some lack. This study aims to examine the attractiveness of characters in narrative dramas in terms of defects and internal growth. To do this, we tried to compare the setting, evaluation, and performance of characters based on the movie worldviews of two famous brands (DC and Marble), which can be compared directly. I looked at it. In conclusion, the work of hero character but human character setting based on internal growth not only has high evaluation and public evaluation, but also high sales, and thus direct and indirect correlation with the public favorability is significant.

• Korean journal of communication and information
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• v.49
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• pp.122-143
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• 2010

This study is designed to figure out what kind of female images TV dramas have represented from 2000 to 2007 and what kind of relationship these images and the actual roles the female characters perform have in the drama. The total number of dramas analyzed is 27, and 152 female characters are analyzed. The result finds that 45% among 152 characters is in her 20's, and most of them play the main roles. Only 4 dramas use 3,40's female characters as main figures. Most 4,50 female characters play mother or grand mother roles of main characters, and they usually interrupt main character's love relationships or don't play any meaningful roles for the narrative. The old female characters over her 60's tend to play foolish and ridiculous roles and don't show any physical charms. The female main characters are beautiful and young, and the more they play good roles, they have better natural beauty comparing the bad characters. The youth and beauty of main characters helps the owner to earn the love of main male characters. It's obvious that the dramas show that female's body as physical capital to achieve higher class and power.

• Journal of Korean Theatre Studies Association
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• no.52
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• pp.229-270
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• 2014

Ostermeier's Hamlet has no particular contemporary reinterpretation. Alternately devoting to show retrospect in illusion and existence through revenging actions. However, Shakespeare's metaphorical and implicative language is dissipated and the style of the play is not an illusive space-time, but a tragic theatrical production that uses rough language to express the depth of the story. The Perfomance of Hamlet is a sensuous jumble up of a diverse range of mass media. The double roles that the actors carry out give an affect of isolation between the audience and the play itself showing both empathy and liberty. Ostermeier's Hamlet distinctively shows a post-modern performance through the prominent elements of dirt, the use of mixed genre, theatric emphasis, making an image and the fulfillment of acting. Nonetheless, Ostermeier's performance stays off the point on the breakup strategy of the post-modern drama without suspending the narrative of Shakespeare's Hamlet. Besides aiming to show a performance centered by the imagery of physical expression, his performance shows New Realism in the 1960's, showing everyday life. Ostermeier thinks, that theatre helps give contemporary people an accurate reality check in the constant unstable periods of time. Therefore, Hamlet shows post-modern physical expression and outspoken dramaturgy using the effects of mass media in New Realism without breaking up realistic narration. With being the aberration of the Castle Helsingor, the main character Hamlet, expresses lunacy and can be considered as metaphor for young adults whom are broken down and isolated from the economic system. He is a substitute for those who experience agony, anger, torment, etc. and other suppressed emotions in everyday life. With the method of direction in the portrayal of Hamlet show signs of succession in the abundant popularization of the classics by communicating with the audience by following the trend of modern mass media and audio-visual perception; emphasizing the point of the philosophical topic 'life and death,' 'life and theatre,' and 'illusion and reality.'

• Journal of English Language & Literature
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• v.55 no.3
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• pp.383-398
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• 2009

Based on the Greek myth of Pygmalion and the fairy tale of Cinderella, Shaw's Pygmalion demonstrates a masterful coalescence of these two narrative motifs into a coherent plot scheme. Even more significant is his keen insight into the conflicts created at the tripartite intersection of human activity concerning language/class/culture, which, as the leitmotif, revolves around lessons in language learning. This play basically deals with human transformation and by its very nature, Higgins's experimentation with transforming Eliza cannot stop at language alone. Her cultural transformation ripples over into the realms of gesture and even a unique way of living (modus vivendi) intimately associated with taste and manners, which Bourdieu terms as habitus. By acquiring a new fashion and language, Eliza is reborn as a new lady aspiring to be filled with a newly acquired habitus. While separating her from her old Cockney style, Higgins inculcates Queen's English in Eliza, in which process her changed speech styles gradually transforms and restructures her deportment and manners, finally generating new practices, perceptions and attitudes. The gist of Pygmalion is however less Eliza's ascent into the middle class than her battle for symbolic capital waged at the level of language. By problematizing his contemporary practice of habitus conventionalized and warped by class distinctions based on economic, social and cultural capitals, Shaw creates a new humanist model of man founded on spiritual and rational virtues. In conclusion, Eliza is not a frigid Galatea but a dynamic character that goes through a brilliant transformation of three stages: 1) linguistic; 2) cultural, and 3) humanist. Finally she is built into a "consort battleship" on an equal standing with her sculptor. The process of her character-building cannot be illuminated without resorting to the dynamic notion of habitus, which highlights the process of inculcation, structuring, generation and transposing. Given the overwhelming weight of the heroine's role and the dynamic process of her transformation as the major plot scheme, this play should be christened Galatea in lieu of Pygmalion.