• The Journal of the Korea Contents Association
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• v.8 no.12
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• pp.72-80
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• 2008

The movie and game are on the center of entertainment industry. The OSMU(One Source Multi Use) method of two media is the most conspicuous in sharing stories. Particularly, the storytelling of a game emphasizes a harmonization between the elements that can be used for a game on narrative point of view(the traditional plot like novel, film and etc.) and the elements reflecting the interactivity, the characteristic of a game. In the gaming made with a film and filming made with a game, the main element of successful storytelling is the story value. In this paper, we describe through the case analysis of the gaming made with a film and filing made with a game in three aspects based on hero's journey steps of Joseph Campbell and $Gr\acute{e}mas's$ actant model theory, which they are the story event, the type and relation of characters, and the complication type between the characters. we, consequently, believe that the compatible storytelling between two media (film and game) and the setting way of characters could be made with the successful diversification in OSMU.

• (The)Study of the Eastern Classic
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• no.49
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• pp.461-486
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• 2012

This article is an English translation of the five works on paper in The Classical Novels of Korea. They are , and First, omitted in the translation, was added, paraphrasing, mistranslation occurs. These features are usually symptoms typically appear in the translation Second, the analysis of attitudes about translation. Weakened and the rating is made to award or disparage, the interest was focused on the story. And listed by the case of the delivery of the story, rather than in the direction of emphasizing the development of the story has been translated. The prodigy man story of translation, depending on the purpose of the translation, select the text. And need to decide how to translate. Only then will be able to achieve international mutual understanding Korean literature.

• International Journal of Advanced Culture Technology
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• v.11 no.4
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• pp.88-103
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• 2023

In a challenging era of despair and hope, Helen Keller's story and her work, especially the remarkable journey depicted in "Three Days to See" from her autobiography "The Story of My Life," serve as a deep source of inspiration and wisdom. Her incredible life story reveals the path we should follow and the hope we should embrace. Her story showcases an incredible ability to overcome adversity in the human spirit. It reinforces the idea that even in the darkest moments, one can find the light of hope and resilience. Her story is a testament to the indomitable human will. Furthermore, Helen Keller's narrative often reminds us of the importance of gratitude for gifts and opportunities that are often taken for granted. Her longing for the simplest things, like sight, teaches us to cherish the abilities and privileges we currently possess. When facing contemporary challenges and uncertainties, her story conveys a profound message of unwavering hope and steadfast faith. She encourages us to seize the present moment, value the gifts we have, and embark on the journey of life with patience and hope, even when the path appears difficult. In this paper, we explore the life of Helen Keller and her literary work, emphasizing the importance of patience and hope in the difficult times faced by Koreans today, and we aim to present our attitude towards contributing to the nation's development. We seek to provide methods for preparing for a better and more hopeful future. We assert that we must carry hope and determination for the future and strive for new optimism and hope in Korean society.

• Cartoon and Animation Studies
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• s.32
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• pp.263-288
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• 2013

This research is about effects which frontal-flat cameras have on narrative films. This kind of confined camera angles make the audience have a sense of tension which is barely defined logically. I think the tension comes from aleatorism. The paper is a research on how aleatorism is working on what kind of value, and what kind of effects it has on narrative films. Russian Formalism had argued they had to meet aesthetic values by totally excluding narratives. It can be said that this was a practice for Brecht's estrangement that a sensitive arousal prohibits the audience immersing into excessive empathy and then make them have a reflective thought. But occasionally, optical arousals in narrative films induce deeper immersion into contemplation rather than reflective thought. I intend to find cases regarding this textualising Front-flat camera angles in narrative films and analysing their contents. To do this, I suggest a more specified definition of 'aleatorism'. Because the concept of the aleatorism is different between an aspect of static image like paintings or photographs and narrative contents like cinema. It is divided into approach through form and approach through content. And I also suggest an operative definition about 'Frontal-flat camera angle' with a several confinements because its formal definition is very flexible depending on audience. The case analysis will be done with a form of discourse discerning two aspects of form and content. Conclusively, Frontal-flat camera angle in narrative film is basically have an effect of attention by optical stimuli. But it cannot be said that this always means deterioration of narrative value. Depending on causality of episodes in the whole story, aleatorism which Frontal-flat camera angle has can support immersed contemplation regarding following narrative rather than reflective thought regarding amusing aesthetics.

• Journal of Popular Narrative
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• v.27 no.3
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• pp.127-150
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• 2021

This study focuses on analyzing the epic characteristics of a korean sports cartoon called "Burning Ground" in the 1970s. Through this, we would like to reveal that only "Burning Ground" has a unique narrative. We hope that such research will accumulate and serve as the basis for the study of Korean sports cartoon. In the 1970s and 1980s, Korean sports cartoons were narratives of the main characters. The story of the family is central to the narrative. Family revenge is mainly the central narrative. Plural narratives are serious, and sports act as auxiliary narratives. It uses 'Spocon', a characteristic of Japanese sports cartoons, to show its efforts to get revenge. Therefore, it is extremely rare to use professional knowledge in Korean sports cartoons in the 1970s. Burning Ground uses an escalating system to construct incremental narratives. The three-dimensional narrative is composed by utilizing various narratives of surrounding characters. The use of expertise in football is a feature of the 1990s, and showing this in the 1970s means that the work is ahead of its time. There are limitations of Japanese cartoon theft and plagiarism. However, through this, it provides evidence to examine the relationship between Korea and Japan. And timeless epic speciality must be recognized. The study is meaningful in that it can broaden the perspective of Korean cartoon research in the 1970s.

• Korean Journal of Child Studies
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• v.22 no.3
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• pp.17-29
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• 2001

In this study, children's representation of attachment was assessed by the Attachment Story Completion Task(Bretherton, Ridgeway, & Cassidy, 1990) administered to 101 5-to 6-year-old children(56boys, 45girls). Teacher-child relationship and social competence were evaluated by a questionnaire administered to preschool teachers. Based on the children's representation of attachment in their narrative responses to the story stems, 56.4% of the children were classified as having secure, 22.8% as insecure-avoidant, and 20.8% as insecure-disorganized attachments. Children with secure representation of attachment exhibited more social competence and fewer behavioral problems in the child-care setting than children with insecure representation of attachment. This study showed that the child's internal model of attachment formed from experience with caregiver is capable of transmitting social relationships outside the home.

• International Journal of Contents
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• v.9 no.4
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• pp.86-91
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• 2013

The Piano, directed by Jane Campion in 1993, became a sensational movie with a special theme focusing on gender and sexual identity, when it won Palme d'Or in the Cannes Film Festival at the same year. Most of the critics discuss the representation of Victorian sexual repression in the colonial setting. But the critical acclaim tends to view the existence of the Maori people and the colonial setting as the backdrop of the narrative, although this colonial background is constructed as a medium to accelerate the release of the repressed passion. Regarding the race issue as a compelling discourse that gets left out of "feminist" accounts, this paper analyzes The Piano, focusing on both how the story of colonialism is constituted in the film and how the film represents ambivalent images of the Maori people, the native of New Zealand.

• Speech Sciences
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• v.12 no.4
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• pp.237-245
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• 2005

The purpose of this study was to investigate the characteristics for cohesion in the narratives of fluent aphasics. Ten fluent aphasics and ten normal adults matched chronological-age and education level with aphasics participated in this study. Story retelling task was given to the participants individually. And all narratives they produced were recorded and transcribed for analysis. The frequency of cohesive markers and the rate of accuracy were analyzed. The result were as follows; (1) The fluent aphasics used cohesive devices significantly less than the normal adult group, and the rate of accuracy of cohesive devices used was lower than the normal adults. (2) Both groups used lexical cohesion more than pro-forms and ellipsis, and the difference of two groups was larger in lexical cohesion than pro-forms and ellipsis. (3) The fluent aphasics used lexical cohesion more accurately than pro-forms and ellipsis but the normal adults used all three cohesive markers accurately. The difference of two groups was large in pro-forms and ellipsis.

• Journal of Korean Classical Literature and Education
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• no.16
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• pp.297-326
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• 2008

I started this study to solve the doubt about actual condition of Oksosun stories. which was recorded in Cheonyerok(天倪錄) is the first form of Oksosun stories. But this story seems a very outstanding work. had a structure of romance. The hero's character was a romantic figure but Oksosun's character was a figure of Yadam. Afterward recorded in Gyeseoyadam(溪西野譚) and recorded in Cheongguyadam(靑邱野談) took place changes in the structure of the story. A lot of narrative paragraphs were removed in these stories. So and achieved the typical structure of Yadam. In recorded in Dongyahwijip(東野彙輯), the change of style was caused once more. So we can see the transmitting and changing flow of Yadam by this study; Romantic Yadam ${\rightarrow}$Typical Yadam , ${\rightarrow}$Noverized Yadam .

• Journal of the Korean Society for Computer Game
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• v.31 no.4
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• pp.175-184
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• 2018

The commercial success of the game has also led to animation of the original game, especially the live version of The Street Fighter II in 1994 and a variety of videos of the game-based version, 2D Animation and 3D Animaion until now. But animations are not always successful because they are based on popular and commercially successful games. That's because when the original game was remade into an animation, the difference between the narrative structure of the original game story and the setting of the game and animation is striking. Nevertheless, a feature-length animation based on the Angry Birds game, which was released on May 19, 2016, has also been a huge commercial success, with this paper analyzing the case applied to the 12th stage of Christopher Vogler's hero's journey, Aengibird the Movie, and discussing the way in which the animation developed based on the game compared with other animations. Christopher Vogler, a Hollywood playwright, analyzed the structure of popular-loved movies based on the common narrative of the myth as the main motif of the mythologist Joseph Campbell. His narrative style is a hero's journey, using a total of 12 stages of epic narrative structure to help the protagonist find himself and achieve what he wants. Foreign heroes, adventure films as well as animations from big studios like Disney, Pixar, and Ghibli are using the story-development method of this Christopher Vogler.