• Smart Media Journal
• /
• v.3 no.2
• /
• pp.29-36
• /
• 2014

Human beings in their perception of the objects perceive the overall characteristics first rather than any parts of the object. In the process of 'information structuralization' and 'information visualization', therefore, it is needed the methods of narrative information representation based on a relationship of cause and effect in order to express effectively the whole messages which designers want to deliver. In this study, according to the concept of narrative information representation, we reviewed the meanings of the visual storytelling. As a result, we found that the visual storytelling has the three key roles which are 'narrative', 'visual communication catalyst', 'interacting'. First, the narrative describes the information logistics flow and it has a role to provide a specific story into information in the process of users' information understanding. Second, in the information design, the visual story telling not only expresses the information structure(story) but also uses the visual expressions to deliver the specific message, which is called visual communication catalyst. Third, the information design goes through the information structuralization and the information visualization stages through the visual storytelling to provide the experience factors to the information users, which is called the interactivity. The research implication is to provide the basis developing an approach method which is able to convey information messages effectively by improving information users' visual cognition and raising information users' memory.

• The Journal of the Korea Contents Association
• /
• v.14 no.2
• /
• pp.72-83
• /
• 2014

Film is a visual art. A process of film totally depends on our sense of sight. It indicates that a way of delivering narrative in the film is "showing", not "telling". There has already been established theories about "who sees" and "who tells" in narratology. It explains who the narrator is and how the narrator delivers in literary works which is represented in terms of "Point-of View". Therefore the study contents construct internal formal elements of the narrator and point of view into 2 individual researches, and the result can be summed up as below. From a narratological perspective, the narrator has roles and deeds as a narrative mediator who mediates the story and leads the story as presenting the origin with images and voices in the text extra and intra world through the process of producing the narrative inferred. To eliminate ambiguousness the term 'point-of view', this article applies 'focalization' theory to analyze narrative structure of film. The result of analysis shows that there are three focalizers in film; director, protagonist-character and camera. And aspects of film can be varied by distance of each focalizer. These distances between focalizers limit amount of visual information.

• The Journal of the Convergence on Culture Technology
• /
• v.8 no.4
• /
• pp.297-302
• /
• 2022

Contemporary viewers familiar with the digital space show their desire for self-expression and use voice, text and gestures as tools for expression. The purpose of this study is to create interactive art that expresses the narrative uttered by the viewer in the form of a collage using the viewer's figure, and reproduces and expands the story by the viewer's movement. The proposed interactive art visualizes audio and video information acquired from the viewer in a text collage, and uses gesture information and a natural user interface to easily and conveniently interact in real time and express personalized emotions. The three pieces of information obtained from the viewer are connected to each other to express the viewer's current temporary emotions. The rigid narrative of the text has some degree of freedom through the viewer's portrait images and gestures, and at the same time produces and expands the structure of the story close to reality. The artwork space created in this way is an experience space where the viewer's narrative is reflected, updated, and created in real time, and it is a reflection of oneself. It also induces active appreciation through the active intervention and action of the viewer.

• Journal of Science of Art and Design
• /
• v.9
• /
• pp.49-87
• /
• 2006

Narrative has broad domains. So it is related to the everything man faces in his daily life and also performed in various modes. Narrative is revealed through all media including a character, which is also applied to plastic art. And narrative objects formed beyond the differences in media aid forms of expression are commonly based on a language. The study on such objects which created a new conceit of narratology can be said to be a spiritual trend by which to understand the world and man from the viewpoint of a 'story'. Plastic art took high interest in narrative in the same period as the rise of postmodernist art in the latter half of the 20th century, which was also applied to sculpture. The researcher, therefore, investigated through the history of sculpture in the 20th century the process in which narrative was denied under the value system of modernism and reappeared with the quickening of postmodernism. And as a result this period could be briefly characterized by 'return to figure' and 'reappearance of narrative'. The is, such flow means that late sculpture converted its center of interest from simple geometric abstract forms to irregular, figurative images. The researcher chose as the subject of his study the work of Louise Bourgeois, who was judged to have performed narrative positively and successfully among a great number of performed narrative positively and successfully among a great number of postmodernist sculptors who adopted it as their own strategy of expression. As the central artist of postmodrnist sculpture, She expressed human desire and condition as sexuality through the introspection of her own personal experience in contrast to the character of pop art sensitive to external world. The researcher borrowed narrative semiotics as a method of analyzing more elaborately the problem about the generation of narrative shown in her works. For it, he selected as the sample work for analysis Bourgeois's , which were judged to contain narrative most abundantly and as the metaphor of a gaze and recollection presented a new woman self that sublimed love, hatred, and loneliness. The narrative in her works are characterized by introspection questioning one's own trauma. It has independent domain and characteristics and clearly reveals narrative and content-centered characteristics, which are commonly discovered in postmodernist sculpture. The researcher could more concretely and definitely understand the characteristics of narrative through figurative images by analyzing the sample work. The researcher wanted to call your attention to the fact that the sculpture in the late 20th century contained narrative commonly and uniformly despite being characterized by various expressions and modes. And the focused on highlighting the fact that the narrative was more effectively revealed through figurative images of human body and simultaneously analyzing the formalizing process and structure for narrative. Besides he wanted to argue that the position of narrative defining the characteristics of sculpture should be valued more justly. Also, such acceptance of narrative, which is discovered in the sculpture, will have to be understood as the characteristics of the period reflecting the cultural aspect of the present time.

• The Mathematical Education
• /
• v.52 no.1
• /
• pp.65-82
• /
• 2013

This study has to do with storytelling. In this study, analyzed the domestic and international academic literature and scientific papers. The purpose of this study is to provide the meaningful basic material on mathematics education for the development of storytelling lesson model and teaching material. First, we analyze the causes and background storytelling appeared. The psychologists found that the human cognition's structure consists of a narrative system. And, We realize that the problem 'How will attract the attention of the students in math class' will be solved by storytelling. Second, the means of storytelling about the educational value and benefits were discussed in Mathematics Education. The story has a powerful force in the delivery of mathematical content. And, the story has strong power, led to feelings of students receiving transfer mathematical content. Finally, examined the characteristics of the psychology of learning in mathematics education by storytelling. We were studied about internal and external story. And, we studies on storytelling as the mediator, story as the knowledge transfer, story as the problem-solving process, story as the script.

• Cartoon and Animation Studies
• /
• s.13
• /
• pp.237-253
• /
• 2008

Visual Effects have been revered as 'Spectacular' film elements for a long time, and once there was a misunderstanding that they destroyed the actual 'Story'. But, now they are becoming a valuable tool for storytellers. A film pursues a perfect narrative structure and visual reality so that the audience can believe the story as a real. Giving a narrative motif to the audience, they use Visual Effects that provide the technical solutions and -at the same time- they create and preserve the diegetic world that Is either believable or not. This research suggests that we analyze precisely and make a classified table of the narrative use of Visual Effects based on the previous research of Shilo T. McClean. First, we can ask if the narrative motif would be there in front of the camera, From there, we then can get two desired answers. One is, if there is nothing to visually stand up, Visual Effects can intervene as an alternative tool for creating the diegetic world. The other is that Visual Effects can be used for preserving the diegetic world as a necessary tool. Then, in the latter, we can consider whether there is a storyteller's purpose to be added, so we can distinguish the details. This classified Visual Effects for the narrative is able to dispense proof that they can be worthy as to provide a 'Spectacuiar' aura as to create and preserve the diegetic world. I would like to argue that this research could be a foundation for the inter-progress of future studies for visual effects as well as for their amazing technological improvements.

• The Journal of Industrial Distribution & Business
• /
• v.10 no.9
• /
• pp.25-36
• /
• 2019

Purpose - Consumers have memories of their past time that they have not experienced. So consumers want to experience the past time and get pleasure through historical contents such as movies or dramas. This is because the re-created the past time sets the identity of the consumers who live today, and in the process, it give consumers emotional comfort. Consumers do not remember and sympathize with all of their historical time. In general, consumers remember the time that their communities are proud of. As s result, historical content is seen as a hero, and through that, consumers can check their identity. Also consumers experience positive emotions such as self-esteem, gratitude and pride through identification with heroes. That is, through historical contents, consumers can identify themselves and replace the current negative emotions with positive ones. Therefore, this study presents narrative identity and historical nostalgia that can affect positive evaluation of historical contents and suggest the factors the can induce such effects. This study was conducted to explain what the consumption effect of historical content is from a marketing perspective and what constitutes a component of historical content as a factor driving this effect. Research design, data, and methodology - This study has developed a questionnaire with 8 Hypotheses. The Films ('Masquerade(2012)', 'Roaring Current(2014)', 'Assassination(2015)', 'The Age of Shadow(2016)') and dramas('Six Flying Dragon(2015-2016)', 'Mr. Sunshine(2018-2019)') were used as experimental contents. 268 college students participated in this empirical study, and structural equation model was used to verify hypotheses. Results - Frist, narrative identity affects positive evaluation of historical contents. Nostalgia affect positive evaluation of historical contents. and narrative identity affects positive response of historical nostalgia. Second, character act relevance, circumstance similarity, and character attractiveness have positive influence upon response of narrative identity. Lastly, empathy for story and vividness of representation have also positive influence upon response of historical nostalgia. Conclusion - This study contributes to the theoretical and managemental development of historical contents. This study shows that narrative identity and historical nostalgia are important for success of historical contents. In order for historical content to be successful, it must manage elements of character act relevance, circumstance similarity, and character attractiveness, empathy for story and vividness of representation.

• Korean Journal of Child Studies
• /
• v.29 no.3
• /
• pp.157-174
• /
• 2008

This study used the person-oriented approach to explore differences in narrative representations of 97 4-, 5- and 6-year old children (30 foster care, 40 biological family, 17 adopted). Using the MacArthur Story Stem Battery (Bretherton et al., 1990), observations were made to obtain children's narrative representations of content themes and performances. Descriptive statistics, ANOV A and hierarchical cluster analyses were performed. The results of this study were that : (1) Biological family children showed more empathy/helping representations. Foster care children and adopted children showed more anxious representations, and foster care children showed more dysregulated aggression. (2) Four clusters of foster care and adopted children and five clusters of family biological children were found.

• The Journal of the Korea Contents Association
• /
• v.9 no.10
• /
• pp.140-147
• /
• 2009

The narrative in the post modern age specially changed the relationship between the writer and the audience. There has been discussions in digital story telling on the format where the audience directly get involved in the plot and change it. However, relevant research has a problem that makes it hard to be applied to unilateral narrative analysis. However, in this context, Save the Green Planet utilizes the narrative that emphasizes the role of the audience while keeping the media characteristics of the movie. Save the Green Planet is read in a monophonic manner by the audience. The audience is led, through different voices provided by the movie, to create another plot that is restructured by themselves other than the explicit plot. This paper aims to examine how the elements constituting the narrative of Save the Green Planet restructure a new plot, and examine the restructured narrative between the interaction of the two plots.

• Journal of Popular Narrative
• /
• v.25 no.1
• /
• pp.165-191
• /
• 2019

The purpose of this article is to elucidate why the motif of time travel is repeated in the science fiction narrative by examining the functions of this motif in the SF movie series of Star Trek in its narrative and non-narrative aspects. Star Trek IV: The Voyage Home (1986) aims to attract the audience's interest in the story through the use of plausible time travel in the form of the slingshot effect which causes the spacecraft to fly at very fast speeds around an astronomical object. The movie also touches upon the predestination paradox that arises from a change of history in which it describes a formula of transparent aluminum that did not exist at the time. The film also serves as an evocation of the ideology of ecology by including humpback whales in the central narrative and responding to the real issue of the whale protection movement of the times. Star Track VIII: First Contact (1996) intends to interest the audience in the narrative with the warp drive, a virtual device that enables travel at speeds faster than that of light and a signature visual of Star Trek, at the time of its birth through time travel. The film emphasizes the continuation of peaceful efforts by warning the destruction of humanity that nuclear war can bring. It tackles with the view of pacifism and idealism by stressing the importance of cooperation between countries in the real world by making the audience anticipate the creation of the United Federation of Planets through encounters with the extraterrestrial. Star Trek: The Beginning (2009) improves interest through the idea of time travel to the past, this time using a black hole and the parallel universe created thereby. The parallel universe functions as a reboot, allowing a new story to be created on an alternate timeline while maintaining the original storyline. In addition, this film repeats the themes pacifism and idealism shown in the 1996 film through the confrontation between Spock (and the Starfleet) and Nero, the destruction of the Vulcan and the Romulus, and the cooperation of humans and Vulcans. Eventually, time travel in three Star Trek films has the function of maximizing the audience's interest in the story and allowing it to develop freely as a narrative tool. It also functions as an ideal solution for commenting on current problems in the non-narrative aspect. The significance of this paper is to stress the possibility that the motif of time travel in SF narrative will evolve as it continues to repeat in different forms as mentioned above.