• Archives of design research
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• v.17 no.4
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• pp.299-306
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• 2004

From oral literature to the online game, the narrative has been extended to be comprehensive of various temporal and meaningful facets. Antagonism between the desire and the obstacle propels the narrative story of the game and film. Essential to the concept of antagonism is the role of an antagonist with power to endanger the protagonist; the strength of that force grabs the spectator's interest. An antagonist becomes the obstacle that guards the distance between a protagonist's desire and ability to attain ti. Although an antagonist is the obstacle to overcome in a story, for ordinary people, the intense rivalry between the pro and antagonist offers an unlimited framework for the discussion of game with film narrative which create an interplay of desire and identification. In this paper, I am going to analyze the diverse aspects of the antagonist in the spectator's fantasy of the visual story such as film and multimedia.

• Cartoon and Animation Studies
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• s.41
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• pp.107-131
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• 2015

This study is on the modification of characters' role and personality between spin-off animation and original works. For this, one of box office hits, (2011) and (2015) have been analyzed with Enneagram and Greimas' Actantial model. The result shows, firstly, the protagonist of spin-off work plays subject role in a new narrative comparing that he/she plays faithful helper's role in original work. Secondly, the protagonist's personality does not show big difference between in spin-off and in original. But, anyway, there's a small change that the secondary personality in original stands out as a primary personality in spin-off. Finally, the standing out personality of the protagonist tends to be 'achiever' or 'loyalist', those of stereotype successful animation characters. In conclusion, the role change according to new narrative seems to be unavoidable. And, the personality change is, too. However, the personality change is partial and it has continuity from the original considering the potential audiences' expectation.

• Korean Journal of Cognitive Science
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• v.29 no.2
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• pp.105-120
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• 2018

Current neuroscience views the mind-body problem from the monistic perspective which claims that the human mind is the result of brain activity and that the mind shuts down when the brain does. However, a considerable number of lay people still believe in the existence of the soul and the afterlife, concepts that are hard to explain from the monistic perspective. This study examines whether lay people think that the mind of the dead is capable of exceeding the physical constraints if they believe that such mind exists. After reading one of three vignettes which describes the state of the protagonist as alive, dead, or brain dead, the participants evaluated the protagonist's general mental capacity and transcendental ability to obtain new information. The participants rated that the dead protagonist had more 'transcendental ability to obtain new information' than the alive one if they evaluated high general mental capacity to the protagonist. In addition, unlike the alive condition, in the dead and the brain dead condition, there was a correlation between the general mind capacity rating and the transcendental ability rating. The results suggest that lay people expect the mind of the alive and the dead to be different, as they believe the latter's general mind capacity connotes transcendental ability. We also found that the participants' religiosity affected their beliefs about the transcendental ability of dead person.

• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.285-294
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• 2020

"The Man Standing Next" was a 'anger-character movie' that shows a fierce psychological game between the characters. Inspired by this point, it was analyzed the narrative structure of this film based on scene unit applying the 'Five-stage Anger Model' formulated by Lakoff and Kövecses and others. The results showed that the causality and feasibility of the protagonist's anger behavior were highly reflected above the model. In particular, among the five steps, the film-maker spent the longest time on 'anger control' justifying the hero's motivation for punishment or retaliation, while giving the shortest time to 'loss of control' to maximize the urgentness of the punitive actions. The detonator causing his anger at each stage was disposed two to six times each stage with neglect, contempt, arrogance, ostentation, mockery, unauthorized intervention, etc. Sneering of "Chief Security Officer" and insulting of "The President" make the protagonist feel the scorn of a terrible friend-murderer each functioned as a "rage trigger." In conclusion, the film follows the above sophisticated model in its narrative structure. Though it was a political drama that sets up a lot of anger scheme caused from public reasons, it reflects ordinary people's routine anger, which corresponds to 24 percent of the list of Nobaco's Provocation Inventory (PI). The producers elaborately reflected the anger procedure theory and balanced the public and private drivers of rage. It was considered to be derived from the intention to enhance communication with the audience increasing their understanding and aspiration for political movie that are usually heavy and unfamiliar.

• Korean Journal of Child Studies
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• v.19 no.2
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• pp.147-157
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• 1998

The purpose of this study was to investigate children's ideas about self-regulation in such situational variables as the presence of explicit rules and the domains of social rules. The subjects were 6-, 9-, and 12-year-old children (344). To assess children's ideas about self-regulation, a procedure was devised in which children were presented with stories portraying a protagonist in a conflict between an implicit or an explicit rule and a personal desire. The children were asked to make a choice for the protagonist and to give reasons for their choice. Major findings as follows: (1) There was significant difference in children's self-regulation depending on the presence of explicit rules. (2) There was significant difference in children's self-regulation depending on the domains of social rules. In situations that involved no explicit rules for behaviors, there were significant differences depending on the domains. In situations that involved explicit rules for behaviors, for 6- and 9-year-old children, there was no significant difference depending on the domains. (3) Children's use of justifications for their choice of action varied as a function of the characteristics of the social rules.

• International Journal of Advanced Culture Technology
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• v.9 no.3
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• pp.181-187
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• 2021

According to Joseph Campbell, there is always a similar pattern in the hero myth, which is called hero's journey. The legends about Cuchulain, the great Irish warrior, also follow this pattern. W. B. Yeats adapts the legends into his plays with Cuchulain as the protagonist. This paper discusses the protagonist's heroic journey in the five Cuchulain plays written by Yeats. In the five plays, Cuchulain grows, matures, weakens, dies, and resurrects, completing and meanwhile sublimating his heroic journey. In At the Hawk's Well, Cuchulain shows potential qualities of a hero. The Green Helmet displays his self-growth through the depiction of his heroic merits which make him a true hero. In On Baile's Strand, the hero suffers from the major frustrations and tribulations in his heroic journey and is stricken down consequently. The Only Jealousy of Emer reflects the hero's inner struggle and vulnerability. The last play, The Death of Cuchulainn, marks the end and reincarnation of the hero's life. Through the depiction of Cuchulain's heroic journey in the five plays, his heroic qualities are well demonstrated. Meanwhile, Yeats's views of heroism can be found as well.

• Cross-Cultural Studies
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• v.29
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• pp.7-24
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• 2012

"Duck Hunting" is the most psychological play with unique structure written by Aleksandr Vampilov. The play describes protagonist hero's furious behavior with psychological instability, therefore, this play tends to be recognized as serious and complicated one. After the death of Vampilov, "Duck Hunting" was reproduced as a film, titled as "Vacation in September." This study is designed to shed light on the play's psychological-dramatic factors by focusing on the structure of narrative and spatial-temporal objet. Also, this study compared the screenshots of the play with their textual meanings, then concentrated on main character's psychological features. By focusing on protagonist hero's mind, this study tries to look into the features of the play and its meanings for modern period. The film's plot is a kind of story telling structure based on main character's memory. The short stories of main character represents that Jilov(main character's name)'s losing his own life. The audience can acknowledge that Jilov's life as a duck hunter who is cynical, ideological, lazy, and self-interest oriented person. This play provokes the audience to compare their life to Jilov's one because such comparison helps the audience recognize their lives as surplus style of life with nihilism. Jilov as a character represents one of Soviet's generation with the feeling of great loss in 1960s.

• Cross-Cultural Studies
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• v.28
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• pp.17-36
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• 2012

This essay places the South Korean film Thirst (2009) within Park Chan-wook's oeuvre as a filmmaker notorious for graphic depictions of violence and revenge. Park's use of dark humour in his films, which is emphasized in Thirst perhaps more than ever, allows for a more self-aware depiction of violence, where both the viewer and the protagonist are awakened to the futility of revenge. This ultimately paints his characters as fascinatingly crazy - simultaneously heroes, villains, and victims. Film theorist Wes D. Gehring's three themes of dark humour ('man as beast,' 'the absurdity of the world,' and 'the omnipresence of death') become most obvious in Park's most recent film, which pays closer attention to character development through narrative detail. Rather than portraying the characters as sentimental, dark humour depicts their misfortunes in an alternative way, allowing for consideration of such taboo subjects as religion, adultery, and death/suicide. These issues are further tackled through Thirst's portrayal of its vampire protagonist, which ultimately de-mystifies the traditional vampire figure. While this character has more often been associated with romance, exoticism and the mystical powers of the supernatural, Thirst takes relatively little from the demons of Nosferatu (Murnau, 1922) and various other Dracula adaptations, nor the romantic figures of Interview with the Vampire (Jordan, 1994), and Twilight (Hardwicke, 2008). Instead, it is part of a much smaller group of contemporary vampire films, which are rather informed by a postmodern reconfiguration of the monster. Thus, this paper examines Thirst as an important contribution to the global and hybrid nature of those films in which postmodern vampires are sympathetic and de-mystified, exhibiting symptoms stemming from a natural illness or misfortune. Park's undertaking of a vampire film allows for a complex balance between narrative and visuals through his focus on the Western implications of this myth within Korean cinema. This combination of international references and traditional Korean culture marks it as highly conscious of New Korean Cinema's focus on globalization. With Thirst, Park successfully unites familiar images of the vampire hunting and feeding, with more stylistically distinct, grotesque images of violence and revenge. In this sense, dark humour highlights the less charming aspects of the vampire struggling to survive, most effective in scenes depicting the protagonist feeding from his friend's IV in the hospital, and sitting in the sunlight, slowly turning to ash, in the final minutes of the film. The international appeal of Park's style, combining conventions of the horror/thriller genre with his own mixture of dark humour and non-linear narrative, is epitomized in Thirst, which underscores South Korea's growing global interest with its overt international framework. Furthermore, he portrayal of the vampire as a sympathetic figure allows for a shift away from the conventional focus on myth and the exotic, toward a renewed construction of the vampire in terms of its contribution to generic hybridization and cultural adaptation.

• Journal of Digital Convergence
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• v.18 no.6
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• pp.435-441
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• 2020

This study attempts to analyze by the gender political point of view of the recent film, 'A Special Lady', focusing on the case of setting up women as the main characters in the 2000s Korean film noir genre. Concretely, this study conducted a narrative analysis focusing on the three elements of genre film, the identity of the characters and their family relationships, and the Oedipal trajectory. The film, 'A Special Lady', has the narrative about the maternal love assigned to female protagonist, and that emphasizes male pure love. And the film shows the flashbacks concerning to motherhood that prove the biological identity of the female protagonist, and signs that weaken the castration fear resulting from male voyeurism. Further, the film depicts the fragmentation of identity and the cracking of family relationships, revealing the confusion of gender identity and the narrative degeneration into family melodrama. Meanwhile, the film fails to complete the feminine Oedipal trajectory by reducing the female character's motherhood to a biological one instead of expanding it into an alternative quality embracing the other. These findings suggest that the korean gangster is closely related to gender politics and is not completely out of gender bias.

• The Journal of the Korea Contents Association
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• v.14 no.6
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• pp.11-25
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• 2014

In strong dramas, pot, character, and theme, three basic elements in dramatic structure, are effectively integrated forwards the same dramatic idea. Plot might be considered as the most important element to combine events and character. However, at some point of the script, the writer becomes less interested in the mechanics of the plot, and the characters take over, because audiences remember the characters or the situations more clearly than the plot. Therefore, the workshop of dramatic structure would be successful when it starts from excogitating the character and the situation, by improvising 'voices' of characters, building 'back story', and reconstructing 'outline from the antagonist's view'. With these exercises, the writer and the director understand the mechanics of dramatic plotting by characterization, which include the choice of the protagonist, and the description of plausible actions and the theme, and they consequentially find the way to obtain solidity and plausibility in the scenes.