• Cross-Cultural Studies
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• v.22
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• pp.99-123
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• 2011

This paper extracted formal characteristics appearing repetitively in Kim Ji Heon's scenario works making a study of them and examined them from the perspective of the aspects of the confrontation between the author' external environments and the world of his creation. This viewpoint comprehensively implies the two aspects of the acceptance of public needs and the creativity his scenarios have in universal characteristics of the film and scenario community where he made his debut as a scenario writer and played activities most actively. In addition, we investigated how literary features are expressed concretely in the world of his works who has been evaluated as a writer with excellent 'literary value.' His scenario world whose base is humanity and existential questions also performs a function as the reading scenario by realizing one literary perfection in itself and poetic description rather than referential function as a film script, which indicates the aspects of values his scenarios have in the existing creation practice focused on story telling, and especially, in the case of "Manchoo-Late fall" it was found that it expanded the areas of literary value through the beauty of modern form. Through this analysis it is seen that the need was exposed to reconsider problematic recognitions that he was not able to be positioned properly as a writer despite the excellent literary values of Kim Ji Heon's scenarios. This study has a meaning as a start in our research climate where the research on Korean scenario writers is not made in an earnest way but it is necessary to keep making more thorough studies including other scenarios which are not organized into the collection of works, and it is also necessary to make a comparative study with cinematized film texts in our view.

• Journal of Korea Society of Digital Industry and Information Management
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• v.13 no.4
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• pp.193-199
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• 2017

This study applied the scenario of the film "Warcraft: The Beginning, 2016" based on the world view and nonlinear story of online games to the basic requirements of a good story of five items. Based on this, it was found that the storyline of the film "Warcraft: The Beginning, 2016" was faithful to the game series with the same title, but weak for a film. This film did not satisfy any of the five requirements of a good scenario used for Hollywood production. Even before this film, many hit games were made into films, but box office hits are hard to find among them. As the game World of Warcraft was very famous worldwide, when it was made into a film, the film was expected to be a box office hit. However, it failed miserably at the box office. This is a result of failing to recognize that the characteristics of games that an individual leads the story are different from those of films that no interaction or choice can be made. It is necessary to understand that although games and films are the same in that they have narrative structures and visual stimulation graphics, they are totally different in the way they immerse people.

• Broadcasting and Media Magazine
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• v.10 no.1
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• pp.37-48
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• 2005

Gaming is a high value-added industry. In order to promote the gaming industry, there must be more scenario writers in the position of quality control. However, the reality in Korea is that there are not enough game scenario writers or work available. That is because traditional scenario writers cannot easily enter the game scenario field due to the unique techniques involved In game scenario writing, which differs from traditional film scenario work. The purpose of this thesis is to examine the unique skills and technicalities evident in game scenarios based upon theories studied so far. Hopefully, this thesis will give a better understanding of the significance of using game scenario writers to schools and companies.

• Journal of the Korean Institute of Landscape Architecture
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• v.23 no.4
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• pp.97-110
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• 1996

This study is about the application of visual structure and presentation of film as one of new methods for design of sequential landscape. The primary objective of the study is to present the basis of applicable and reasonable D니. In applying components of film to DSL, if it is compared with sequential landscape, the film is collection of shots while sequential landscape is accumulation of sceneries. Film and sequential landscape give us a whole meaning different from the meaning itself of a shot or scenery in its experience. The study build a tentative technique of DSL which has the following stages : 1) Goal setting and making out a scenario 2) Analysis and investigation 3) Selection process of definite form 4) Drawing up conti., sketch and notes, It is expected that the technique presented in this study could be a basis for further study of DSL.

• The Journal of the Korea Contents Association
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• v.13 no.10
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• pp.214-225
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• 2013

Current production systems have been recognized as having contributed a dramatic growth in the Korean film industry. However, industry voices feel that the role of these production systems should be reorganized as the industry faces further needs for development process. Film development process involves item selection, scenario completion process, and packaging process, which include choosing the right director and actors in order to increase the chances of completion of the film as well as increasing probability of investment funds. Thus, film development is a very creative and practical businesslike activity at the same time. The purpose of this report is to study the producers' role and problems by comparing Korean film development processes to 'Produced By' of the PGA(Producers Guild of America) and suggest a solution for the improvement.

• (The) Research of the performance art and culture
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• no.35
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• pp.339-371
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• 2017

This paper is a study of the film A Deaf, Sam-ryong by Na Un-kyoo released in 1929 at Choseon theater. This study compared the partial scenes of the currently remaining A Deaf, Sam-ryong with related scenarios and original works, after the restructuring of the structure of A Deaf, Sam-ryong and was written for the purpose of reviewing it. The film A Deaf, Sam-ryong is based on Na Dohyang's novel A Deaf, Sam-ryong. However, in the process of adaptation, it was a work that strongly reflected the intention of Na Un-kyoo as a scenario writer. The study of these intentions has to reorganize the remaining scenes at present and rely on research methods to compare them with related scenarios or original works. Even if a situation that makes it difficult to draw clear conclusions is drawn in this research process, we can not but dismiss the method of this research itself if we can not stop the purpose of restoring the loss of Korean cinema. As a result, this study is devised to carry out this study, which had been discontinued due to the lack of work and related data so far.

• The Journal of the Korea Contents Association
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• v.22 no.6
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• pp.273-282
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• 2022

The narrative of the film, Sweet Smell of Success has a multi-layered structure. In Clifford Odets's scenario work, numerous lines for the main plot and subplots repeated a cycle of creation, decomposition, deletion, and modification to enhance the density of the story. As a result, whenever an actor spoke a line or paused, an action or an event that would trigger another line was created, giving depth and persuasiveness to the character's performance. The music of Sweet Smell of Success has multi-layered elements. The non-diegetic music was covered by the orchestral pieces performed by Elmer Bernstein's big band orchestra and the jazz pieces performed by Fred Katz's combo band. The diegetic music was mostly covered by the jazz pieces performed by the Chico Hamilton Quintet. The practical task of the film music was to reinforce or supplement the effect of the narrative driver, and the additional task was to realize the estrangement effect and the aesthetics of stagnation. The possibility and significance of intertextuality of subplots and double sound of this film are not simply confined to the limits of the film noir genre.

• Journal of Digital Convergence
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• v.16 no.9
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• pp.405-412
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• 2018

When a film company decides whether to invest or not in a scenario is the appropriate time to predict box office success. In response to market demands, AI based scenario analysis service has been launched, yet the algorithm is by no means perfect. The purpose of this study is to present a prediction model of movie scenario's box office hit based on human brain processing mechanism. In order to derive patterns of visual, auditory, and cognitive stimuli on the time spectrum of box office animation hit, this study applied Weber's law and brain mechanism. The results are as follow. First, the frequency of brain stimulation in the biggest box office movies was 1.79 times greater than that in the failure movies. Second, in the box office success, the cognitive stimuli codes are spread evenly, whereas in the failure, concentrated among few intervals. Third, in the box office success movie, cognitive stimuli which have big cognition load appeared alone, whereas visual and auditory stimuli which have little cognitive load appeared simultaneously.

• Archives of design research
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• v.16 no.3
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• pp.263-272
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• 2003

Motiongraphics is not short film and has a special communication method characteristic of design. As graphic design needs space-composition, motiongraphics requires time-composition. In the 1920's, artists belonged Bauhaus in Germany tried to realize time-composition in the plans for abstract animation. At that time the russian film director Eisenstein experimented with moving image composit on, creating new meanings through the montage of heterogeneous images. In the digital era of today, motiongraphics is composed of such various elements as moving image, photo, illustration, typography, etc. The editing in montage film is one-dimensional. Meanwhile, motiongraphics of these days consists of a lot of layers, composing various elements by editing. Motiongraphics needs time structure and visual rhythm as well as scenario or storyboard for time composition. The principle of time composition in motiongraphics ist similar to that of musical composition. If we compare the time composition of abstract animation or montage film with the melody in a solo, time composition for motiongraphicf is like a symphony. Various composing elements are developed under different tempos at the same time.

• The Journal of the Korea Contents Association
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• v.13 no.7
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• pp.51-61
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• 2013

This Paper aims to explore the key factors that drive box-office success in Korean, Chinese and Japanese film market regarding to the storytelling of the movies. At first, I researched the top 20 movies at the box office of Korean, Chinese and Japanese film market from 2007 to 2011.And then I tried to figure out the key factors for the success and the differences among those countries. Usually the purpose of the movie planning in Korea is for the domestic market. In the profit structure of Korean film industry, it is really hard to focus on the overseas film market. In Chinese film market, recently it has been changed a lot especially film genre. The movie liked to watch is melodrama, romantic comedy movie It is being changed to the comedy genre from the war and martial arts movie. And it is emphasized the importance of the scenario in the film production. They want to watch their lives like a real and dreams at the movie and the movie tries to show this trend. In Japanese film market, they made movies in which TV drama, animation and cartoon according to the O.S.M.U. strategy. The movies like to watch are the blockbuster movies, horror movies, thriller movies and melodrama. Comparing with Korea and China, they like movies which show more fantastic and fairy tale imagination.