• Journal of Popular Narrative
• /
• v.26 no.2
• /
• pp.87-122
• /
• 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 Journal of the Korea Contents Association
• /
• v.14 no.4
• /
• pp.47-57
• /
• 2014

The horro movie which was released in 2003, was a box office hit drawing audiences totaling 3,140,000 people. Then, there were partial opinions that it was difficult to understand the content of the movie. However, it was most favorably received in the horror movies which were released before and after 2003. The 4 main characters in the movie are a family. The family conflicts begin as the dad has an affair. Muhyeon(the dad)'s infidelity leads his wife to kill herself. The suicide of the wife and mom again leads Suyeon(the younger sister) to be dead. At this moment, Suyeon's death is related to Eunju(the step mom). Sumi(the older sister) is deeply hurt by the fact that Eunju left her younger sister's death after she was dead. But at the same time, she realizes that she is also related to Eunju's act. And she felt guilty about her younger sister's death. Eunju was also hurt by Sumi's biting remarks. However, she feels guilty about the fact that she made Suyeon be dead. Director Jiun Kim said in the interview when it was released, "this movie is about hurts and guilt among families." These hurts and guilt are expressed by horror images that imagination and reality are mixed. Hurts are expressed by virtual images and guilt is done by real images. This paper presented still pictures which explain the virtual and real images and examined what hurts and guilt mean. And it described the symbolic meanings of three media which cause conflicts among main characters.

• Journal of Broadcast Engineering
• /
• v.25 no.6
• /
• pp.861-869
• /
• 2020

We introduce the application that automatically makes several images stored in user's device into one video by using the different climax patterns appearing for each film genre. For the classification of the genre characteristics of movies, a climax pattern model style was created by analyzing the genre of domestic movie drama, action, horror and foreign movie drama, action, and horror. The climax pattern was characterized by the change in shot size, the length of the shot, and the frequency of insert use in a specific scene part of the movie, and the result was visualized. The model visualized by genre developed as a template using Firebase DB. Images stored in the user's device were selected and matched with the climax pattern model developed as a template for each genre. Although it is a short video, it is a feature of the proposed application that it can create an emotional story video that reflects the characteristics of the genre. Recently, platform operators such as YouTube and Naver are upgrading applications that automatically generate video using a picture or video taken by the user directly with a smartphone. However, applications that have genre characteristics like movies or include video-generation technology to show stories are still insufficient. It is predicted that the proposed automatic video editing has the potential to develop into a video editing application capable of transmitting emotions.

• Journal of Popular Narrative
• /
• v.27 no.2
• /
• pp.45-77
• /
• 2021

The aftermath of the COVID-19 virus continues. There are two potential fears behind the various preventive and quarantine measures. : the fear that "I may be infected" and the fear that "someone may infect me". This subconscious is built on the 'imagination of infection'. This paper attempted to analyze science fiction(SF) narratives and zombie narratives that influenced our imagination of infection. And this paper attempts to examine how SF novels and movies understand and express "infection", and how zombie narratives reveal "infection" and its horror. Mary Shelley's novel "The Last Man" revealed the paradox that the fear of an infectious disease gave humanity an opportunity for reflection. The films and showed that fear and aversion to infectious diseases can lead to riots and conflict. Zombie narrative is a genre that most dramatically expresses the horror of infection. Director Yeon Sangho's zombie trilogy, including , reveals that people around you can turn into the most dangerous source of infection. Through SF and zombie narratives, we can realize that humanity must have a humble sense of solidarity, ethics, and empathy in the face of infectious diseases. Through this narrative texts, we can realize the importance of the imagination of infection. Imagination of infection is the basis for understanding the causes and consequences of the spread of infection, the process and future prospects.

• Journal of Korea Entertainment Industry Association
• /
• v.13 no.8
• /
• pp.231-242
• /
• 2019

(2014) directed by British-born second generation Iranian-American Ana Lily Amirpour, set in 'the Iranian ghost-town Bad City' attempts to make how the hybridization of multi-cultures makes interesting interpretations culture-politically, presenting a female vampire skateboarding in a striped t-shirt and a black chador. In traditional horror films, mainly male-Dracula was the center of the vampire narrative as other, but since the post-modernism era, vampire films try to shift women from the passive and dependent victim to the subjective and independent main agent. And the main character of the film, 'The Girl' who is a female Muslim vampire takes a step forward to punish men who commit gender violence. Shot in black and white, the film puts images ahead of narrative, while featuring Iranian actors, speaking Farsi. Furthermore, the film crosses over Iranian politics into American-European pop cultures with this eclectic mix of Iran's rock, British electro-pop and Ennio-Morricone-like western stylings. This study focuses on the style featured in which has successfully transformed and transplanted a vampire story into a critical contemporary discourse, mixing multiple genres and citing cultural trends while not following the traditional conventions of vampire films.

• Human Ecology Research
• /
• v.52 no.1
• /
• pp.33-42
• /
• 2014

The purpose of this study is to analyze the internal meanings of dolls and dolls' images expressed in modern fashion show. Dolls are used as sacred object, decoration object, playing object, personified object or cherished object. The expression types of doll image in modern fashion are as following; substitutes of multi-ego, object of sexual desire, objectified creature, and medium of transcending fantasy. First, dolls image as substitutes of multi-ego had been expressed in magical expression, disgusting mask, transparent mannequin, expressionless, horror, conflict, loss of identity, exaggeration or escapism. Second, as object of sexual desire, dolls image are expressed as naked baby, ambiguous expression, naked body, voluminous body, emphasized specific bodypart, heavy makeup or wax doll of sexy actresses. Third, as objectified creature, dolls are human body in passive form. Human bodies are disassembled and reassembled as dolls. Such dolls reflect serious reality. They wrap up human like product and objectify it. Fourth, dolls image expressed as medium of transcending fantasy recollects youth age or expresses imagination on ambiguous virtual reality. Like this, dolls have value as creatures in various fields of modern fashion. Dolls contribute a lot in creating important inspiration. Dolls also expose internal mentality and represent ego. Externally, dolls express human shape becoming more and more materialized and objectified by advancing scientific technology in digital capitalistic society.

• Journal of Korean Academy of Nursing
• /
• v.35 no.2
• /
• pp.407-418
• /
• 2005

Some fifty survivors participated in the narrative therapy sessions from March 2003 to December 2004, and thirty cases were analyzed using the transcripts. Each participant's surviving story was summarized, and then interpreted and reinterpreted by the survivors themselves in collaboration with the researcher. The two main principles in narrative analysis were hermeneutical distanciation and hermeneutical circulation. Result and Conclusion: First, nursing involvement should play active roles from the early stages of disaster incidents. Specifically, emergency nursing and flexible coping plans are to be available according to the specific properties of each case. Secondly, it is necessary to try to understand the extreme emotional experiences of disaster survival. The horror and pain people feel at an incident cannot simply be generalized, and it requires that each case be approached individually to help stop social alienation. Thirdly, more constant and long-term studies are required to set up nursing strategies for disaster survivors. Forming a trusting relationship with survivors is basic, and formally registering as participants is necessary for continuous interventions. Fourthly, we should deeply appreciate the danger and complexity of modern society and understand the complex nature of disaster. Fifthly, interdisciplinary activities and studies are necessary in combination with various other fields to establish a framework of total nursing care for disaster incidents. Lastly, it is urgently necessary to educate families and friends of the survivors and the society as a whole about life after a disaster.

• Journal of the Korean Society of Costume
• /
• v.58 no.4
• /
• pp.13-25
• /
• 2008

This study is on the various style and characteristics of mask, and was performed empirically by reviewing the related materials such as the literature, precedent studies, fashion works, and home and foreign fashion magazines. As a result of the study, the style of mask in the modern fashion is roughly categorized by full-covered style, half-covered style, and over-half-covered style which is covered over 50% of a face. And, mask is utilized on a hat or a dress all over, or is produced by a elaborate makeup. Mask with lots of variation has three big characteristics, which are sense of disguise, sense of ornamentation, sense of grotesquery. First, sense of disguise means deviation or tool of affectation instead of cultural standard norm through transforming or masquerading as an imagery person or animal in ancient myths, famous artistes, etc. It could be developed to express a designer's identity. Second, mask decorated with various styles and materials has sense of ornamentation, which means natural human desire of expression for beauty, and at the same time human mind longing for experience a fantastic and ideal inner world being deviated from the present world even indirectly. Third, ignoring the original format of eyes, nose, and mouth, using extraordinarily various techniques such as distortion, extreme, exaggeration, concealment, or combining with animal images, mask has sense of grotesquery inducing humor and horror simultaneously.

• Journal of the Korean Society of Costume
• /
• v.52 no.2
• /
• pp.19-30
• /
• 2002

This is the research of Abject Art which was originated aesthetically in Abjection Theory of Julia Kristeva, a french psycho-analyst who argued liberational discussions about feminine identity against patricentric ideology which had fastened existing beautiful and elegant oedipal-feminine image and femininity as the secondary sex or the other's sex. and which became known by the planning display at whitney Museum of American in 1993. In Julia Kristeva's Abjection Theory which was written in her book(Power of Horror : An Assay on Abjection, 1992), she named pre-oedipal stage in which there is no sexual difference and has the same significance to both sexes instead of the oedipal stage which is becoming male-supreme reality as the semiotic and reinterpreted that an infant disregards feminine body--mother's body (Julia Kristeva, named it as Chora) as the love and the pain which carries her baby in herself and creates the baby which belonged to herself--which belongs to the semiotic to enter the symbolic smoothly. So the Abjection art is partly consist of some works which express the concertion of the boundary rebated with infant Identity which is not yet the other perfectly nor the subject perfectly, and of some works called Excretory Arts which express the excretion and vomiting which is the original experience of the abject. I expect that this research can be the chance of breaking from the fastened identity which was granted on female and feminine costume in this masculine-view centric society and creating the new position of costume and dress in the field of art by analyzing the costumes especially among these works.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.32 no.5
• /
• pp.129-138
• /
• 2004

Cherishing the dead is based in sadness. Designing a memorial space therefore has an inherent challenge to evoke the feeling that is so personal and varied by providing a physical space. The tendency of memorials, especially in the US after the mid 20th century, has been to emphasis each dead individual, as seen at the Vietnam Veterans Memorial in Washington, D. C., the Oklahoma City National Memorial in Oklahoma City, and so forth. In the process of designing the memorial of the Taiwanese Chi-chi earth-quake, Cheng Kim Park Robidoux tried to set up a series of spaces through which not only the relatives of the dead but also unrelated visitors could have their own spatial experiences, private rituals and public events, so that they can finally build up a collective memory. Sky-Well consists of a large bamboo forest enclosing a void. Without a particular entrance and guiding system, visitors stroll and get lost in the bamboo forest before they find the central void. The horror they experienced during the earthquake is melted down into the motion and phenomenology of the bamboo forest whereas the central void is reinterpreted as an empty mind, where people find solace from the sky. Details, such as the bamboo wall to place commemorative flowers and lotus blossom paving, are echoing the theme of rebirth.