• 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.

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.165-172
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• 2019

Signs of the street and scenes of the nature(tree) popping up like a still screen in a monotonously repeated routine, as if waiting for something by chance, characters appearing and disappearing without special meaning, advise you to get away from cliché meetings and breakups while repeating it. The images of people returning to their places without presenting any conclusions highlights the coincidences and unexpectedness of everyday life, but are so familiar that it is easy to be overlooked, it brings us to experience the potential of everyday unfamiliarity in such moments. The actor's performance, which deviates from the practice of well-organized characters, is improvised (unplanned and uncoordinated) emphasized on the scene and expresses the everyday nature of his differentiated character freely like the reality as if he were locked up in a film structure but not confined to it, and as if he got used to the everyday life. Also the repeated words and actions of characters, and unpredictable changes of emotions, centered by the encounters and conversations of this film of Hong Sang-soo, everything that is presented in the background of everyday life in its form, let's us pay attention to the meaning and what to be found in the film. In addition, director Hong Sang-soo, who creates a story after selecting actors to reproduce this daily process in a realistic manner, sets new relationships between the characters and the actors, presenting a new method of realistic expression, through the actor who repeatedly appears in the film. This study analyzes the everyday characters and acting of the film based on director Hong Sang-soo's directing style.

• The Korean Journal of Franchise Management
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• v.3 no.2
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• pp.1-19
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• 2012

This study intends to suggest the cooperative, win-win collaboration, as methods for settling disputes with the existing self-employed people over back-street business areas and disputes and conflicts between a franchiser and franchisees. In addition, it intends to analyze the Dunkin' Donuts purchasing cooperative in the US, where the franchising industry has been well developed; and to find the implications of cooperation strategies between Dunkin' Donuts and its franchisees that may be helpful for the South Korea's franchising industry. This study tries to discover a new model of the Korean-style franchise cooperative out of the basic principles and practice guidelines of cooperatives ranging from an early American franchise cooperative in 1955 to ARCOP, KFC, and Dunkin' Doughnuts in the late 1970s. Further, it looks into successful programs of a purchasing cooperative at Dunkin' Donuts such as TDP (Total Distribution Program), SFP (Shortening Futures Program) and DCP (Distribution Commitment Program). The case of the US Dunkin' Donuts, which operates the purchasing cooperative, suggests the following for the improvement of franchisees' profitability. First, relations of cooperation rather than of power are necessary between a franchiser and franchisees. Second, mutual solidarity of franchisees is necessary. Third, problems proper to the Korean franchise system should be improved. Fourth, an entrepreneurial spirit of going together rather than going fast is required. Fifth, complete satisfaction management is required. Considering different system environments between the two countries such as quantitative expansion within a short franchising history of 30 years or so and franchise profit models, there is a limit to generalizing down to a successful model of the win-win partnership cooperative. It is hoped that the sustainable management of the domestic franchising industry will be promoted in the future through the in-depth analysis of successful cooperatives.

• Journal of the Korean Society of Costume
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• v.35
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• pp.325-341
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• 1997

One of the noticeable trends of female wear in 1990s is the Outwearization of Underwear as it is called 'Lingerie look' This trend meaned 'Exposure Fashion' raised splendidly its head to the whole stage of fashion destrying the tradional concept having divided the fashion between outwear and underwear by Madonna an Americal populer singer showed up in front of the audience wearing the corset-dress as a stage custome. This corset-dress which can not be recognised whether it is underwear or outwear has been diffused into the mass as a fashionable trend re-gardless of any reason; therefore discrimi-nation of wear by space by far that is underwear should have the sstandard telling between private and public sector has been gradually tumbled. By the way what has propelled desigers to introduce the style continuously having the underwear motive such as outwear almost as same as underwear or underwear worn on out-wear etc. and has made it a fashion trends? How do we accept this "Ligerie look'fashion" The rearch on vogue of outwearization of underwear started by the questions above can be summarized as the followings The division between the sprit and the ma-terial-economic shrinkage by the collapse of the bubble economy in the late of 20 century and expectation for the next century doubt by changes of international politics dynamics for the next century and increasement of psycho-logical tention by the environmental destruc-tion etc, has been extended to break the sense of value down These frustration of the tra-ditional values and dissatisfaction on the pres-ent have reflected on the fashion pursuing some more sensational style to increase the ex-posure of the body. The revolution of wearing bouncing the con-servatismhas outwardly expressed underwear of the private sector. Therefore the spatial concept of wear which for the public sec-tor has been fallen into pieces and has broken the wall of the concept fixed by outwear on underwear. in addition the stage costome for the popular people like Madonna has not been limited by the specularity any more and has been assimilated with the normal wear on the street to take the distinction for away. The circumstances of the late of 20 century pursuing sensation and making sex commer-cialized have accordance with the outweari-zation of underwear. there it is on the basis of Minimalist's dogmatism has been expressed the maximization of expoure in the pubric space to popularize bra pants(knickers) as outwear. The reaction on the attribute of hiding and shanding has brought 'See-Through fashion' with the transparent materials, The contemporary doubt recalling the mem-ory of the past has sublimated corset which was an instument of toture for women into Romanticism to introduce it to fashion with the development of a new material not to be a tool of any oppression and maltretment any longer. The popularization of outwear like underwear what's more has brought high quality of underwear. There it has called for the variety of materials such as knit demin and velvet etc, and has urged the famous designers to enlarge their working boundaries to underwear designs, Besides outwearization of underwear has been popular even in the Orient which has the con-servative opinions on exposure ; so changes of the thoughts can be seen among the establish-ment generation on exposure of the body. As the more high tech information publi-cized and the more technology and media digitalized the more expression being analog the pursue for the new in fashion with vision never been seen and even though it is imprac-tical the experimental designers have drived the freedom beyond the traditional roles of the previous century. Consequently outwearization of underwear may be viewd as a trial as an expression responded the contemporary background. This trend in my opinion will have been lasted for a while by being proliperlated among lasted for a while by being proliperlated among the pub-lic who has the century-end anxiety and doubt and expectation for the next century.

• Korean journal of communication and information
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• v.67
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• pp.177-208
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• 2014

This study inquires how human interest news on society section of newspapers had been modulated as multi-layered political narratives that would consistently have Koreans consider, realize and question on colonial situation as well as ethnic identity. Under totalitarian censorship of the colonial government, newspapers could not publish reports on political issues and current affairs, so society page of human interest such as crime, accident, conflict, disaster, and many kinds of sufferings of peoples to death would take great public attention and consequently be considered as a substitute of political section. Society page had enjoyed its influence on formation of public opinion of the colonized ethnic society and had maintained cultural-nationalist position ever since the founding of newspaper in mother-tongue in 1920. In colonial context, there is nothing non-political to the lives of the colonized, social facts would be necessary and happen to be modulated into a narrative that could trigger nationalist sentiment. For this end, news reporting of society section usually concentrated on aspects of 'Les Mis${\acute{e}}$rqbles', dramatic quality, and psychological factors in detail. Narrative style of news reporting got used to modulate factual informations with a proper taste of exaggeration, emotional expression, and commercial touch of exciting words. Even in a case of death by drug abuse, news was written to indicate what made him/her drive to miserable death on street, that is, what is de facto reason of all of social problems like as migration, hunger, leaving home, crime, suicide, violence, gambling, love affairs to death, adultery, and even opium habit. Those social problems and personal sufferings appeared up on newspaper 3rd page at daily base. Readers could acknowledge and identify what the real matter that should be resolved and then blame colonialism, capitalism, and militarism for those social problems. Journalists put values on inciting the colonized to realize the national and ethnic situation and feel sympathy for their people tied up by a common destiny. In this terms, news on society section of newspaper under Colonial Occupation were encoded as narratives of politically layered text and then decoded as intriguing sentiments against colonial dominance. I argue that society page of newspaper of colonial period engaged in a sort of cultural politics of sentiment and emotion which is a private area outside of imperial sight.

• Archives of design research
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• v.16 no.2
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• pp.179-188
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• 2003

We can discover some facts that vernacular design products with a property of volunteer culture coexist with ready-made products as an useful objects in the post-industrial society. Currently, few attempts had been made at studies of the vernacular design objects with understanding cultural context in post-industrial society, it is necessary to illuminate the relationships between the user with a role of design producer and the product viewed in culturally. In chapter 2, by examining documentary, t have been understood the definition, apprehensions, attributes linking creative use's culture with vernacular design culture, and distinctions between vernacular design and main stream design system. In chapter 3, by verifying products of everyday street and construction site, have been investigated the public characters and the differences compared with the past. In chapter 4, as a subtle example, have been analyzed design feathers and cultural characters of the products which children and infants culture generates by reflecting the socio-economic backgrounds and the culture from 60c and 70c to now according to the phases of the times. In conclusion, first, it seems quite probably that all of artificial objects exist a state of ready-made but that is not appropriate to correspond with user's whole behaviors. supplementally, it causes the phenomenon of vernacular design products. Secondly, it is reasonable to suppose that such main-stream design system and vernacular design go forward continually and crossly with coexistent relationships as high culture and sub culture. Third, three concepts: long-life design, ecology design and recycling revealed in vernacular design are useful distinguishing marks for the future design directions, moreover instant-response, fast and flexible process, three distinctions have a possibility of alternative process which can overcome the control-based process such as the systematic approach and the planning MTG in present. Finally, in children and infants culture, vernacular design products have changed the pure style products in the past into the modified techno playing products in the present. These should De a substitute product that supplyes variousness to ready-made design system and a design culture that maintains continually as a independent culture.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.6
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• pp.91-101
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• 2009

In this study, the landscape of Insa-dong was interpreted from the viewpoint of a social construction of landscape, which regards the dynamic process of landscape change as more important than landscape visibility. This viewpoint also regards landscape as the result of its interaction with certain actors. From a review of previous studies on the same subject, it was found that the physical environment, institutions, and images are essential factors influencing landscape change. Insa-dong, which was Kwanindaing and Daesadong during the Joseon Dynasty, acquired symbolic meaning as a traditional area during the Japanese colonial period because of its many antique shops and Korean-style buildings. In 1970, the establishment of modern galleries in the district added to its image as a haven of the traditional Korean culture. Insa-dong thus eventually came to be referred to as "the street of traditional culture" by the people of Korea. Thanks to global festivals like the Asian Games, the Olympics, and the World Cup, Insa-dong's reputation as a cultural tourist destination has become stronger as these festivals created a need for a place in Korea where the country's traditional culture can be showcased to foreign tourists. After the mid-1990s, the merchants of Insa-dong began to cash in on the district's image as a showcase of traditional Korean culture due to the economic depression that emerged then. The people of Insa-dong and those outside it, however, came to feel that this trend damaged the district's image. Therefore, the people of Insa-dong and the district's local government started a movement to restore the aesthetic value and symbolic meaning of the district's landscape. This effort induced institutional change. Insa-dong used to be a natural haven of traditional Korean culture. Its landscape has recently been reconstructed so that this image could be restored. This process was made possible by the active interaction of diverse people: merchants, users, administrators, and NGOs.