• The Journal of the Korea Contents Association
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• v.18 no.11
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• pp.338-347
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• 2018

This writing presents a structural methodology that conceptualize' Fransis Ford Coppola's perspective and adaptation style of his screenplay derived from the author Mario Puzo's original novel "The Godfather". This paper is divided into two different stages: The first stage, namely the "formal stage", encapsulates the analysis of narration and exploring the effects of structural transformations, such as deleting, creating and modifying from the novel to the screenplay. The second stage, entitled "semantic stage", is concerned with ascertaining the difference between the structure itself and the adapter's perspective on the original novel. The opening sequence of will be used as a case study to explore these issues in examining its adaptation style specifically while also offering a template for adapting a screenplay from a novel.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2016.10a
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• pp.185-186
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• 2016

Animations are filled with emotional expressions of childlike innocence and fun, their dramatic plots and boundless imaginations have made them the focal points in a global context featuring industrialization and marketization, and people around the world like watching these animations. Animated adaptations are very common artistic phenomenons and cultural practices, and they have been one of central topics of theoretical discussions since the creation of animation films. Currently, the research on animated adaptations is mainly about case analysis, but from the perspective of methodology, there lacks a theoretical and systematic study on the adaptation and recreation of narrative text. This paper takes western narratology as the theoretical tool to do a systematic research analysis on the narrative adaptation of animation films, and it will involve the method and values of animated adaptation. This paper used to the method of 'Greimas' and to study the procedure of adaption from an origin to an animation. The paper found the success factors in animation through it.

• The Journal of the Korea Contents Association
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• v.12 no.4
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• pp.186-197
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• 2012

The purpose of the thesis is to answer the question on how the visual image content, being the original content, should be adapted to and represented as a spatial content. The thesis focuses on adaptation as the key in the conversion process of visual image content to a themed space. There are many published studies dealing with storytelling, adaptation from books to movies and TV shows, or from movies to games and vice versa. On the contrary, when it comes to adaptation from visual image content to spatial content, noticeably few studies were done on the method, and fewer studies view adaptation as the prior step of storytelling. This study first defines adaptation, and then applies the methods of Gianetty and Dudley which is further incorporated into the conversion of visual image content into a themed space. It then turns the attention to the characteristics of themed spaces. A case study highlights that a themed space is a spatial representation of the story, image and action in the visual image content, and analyze the type of adaptation made. The study results draws two conclusions; adaptation must be carried out prior to the storytelling of the spatial content; and opposed to a third-person view of the visual image content, the main factor in a themed space is first-hand experience. Thus, the thesis suggests that conversion from visual image content to themed spaces are not merely imitative but is a full range of recreation of a new content. It is expected that more detailed analyses on the particulars will lead to feasible outcome on implementing various methods of adaptation and bring about effective conversions between the visual image contents and themed spaces.

• Cartoon and Animation Studies
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• s.51
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• pp.107-127
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• 2018

The methodology for adapting fairy tales has long been used in the making of cultural products. The downside of this methodology is to discover the modern value of fairy tales and to adapt it to the trend to deliver messages. In this paper, I believe that the universal idea of fairy tales will be a way to elicit sympathy from the audience. A story adapted from the story " Snow White and the Seven Dwarfs " in 1937 played an important role in the development of animation. Disney then continued to create animations that adapt to the original character. Since the beginning of 2013, Disney has changed the theme of the original book, story structure, character setting, and created its own adaptation system. " Morphology of the Folk Tale " is a system of analysis derived from many fairy tales that can be conducted accurately on most fairy tales. The purpose of this paper is to use Morphology of the Folk Tale to analyze the changed functions of and to analyze the system used by Disney in fairy tales. As a result, Disney found that when it was adapted to B, it chose a family that matched the modern history. He also changed the relationship of characters in the premise that the plot of the story has not changed. Disney's analysis of the changing system in the adaptation of can be traced to other similar works.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2017.05a
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• pp.205-206
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• 2017

Casual games are often have simple rule and easy to play. Like Angry birds, players can sling a bird as a bomb to destroy target. But the film adaption encounters numerous questions. games in pursuit of strong sensed presence, pay attention to experience; film stress the integrity of the story, attaches great importance to plot. However, casual games don't have story and plot. This paper take angry birds as example, analyzes the difficulties and method of adaptation from leisure mobile games to films, summarizes the key successful elements of adaption, such as subdivided the target group, chose an appropriate genre, write a script follow the basic logic and frame of film, set contradiction, complicated the character and still contain key elements of the game, in order to provide new ideas in the future development of integration of game and movie industry.

• Cartoon and Animation Studies
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• s.48
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• pp.173-197
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• 2017

The purpose of this study is to investigate the extensibility of transmedia contents of fantasy genre, and then to examine the characteristics of trans-media contents and analyze how the contents of fantasy genre have become trans-media. The definition and characteristics of the trans-media are distinguished from the existing theories such as One Source Multi Use (OSMU) and Crossmedia. At the same time, this study analyzes the extensibility of the trans-media contents applied to the fantasy genre and it compares with other medias such as novels, videos, games, etc. This shows that the game of the throne was more like to the second order adaptation through video adaptations that succeeded in success compared to the original novels that in expanding into trans-media compared with existing fantasy genre contents represented by the Lord of the Ring. The difference is that although the game of the throne is a fantasy genre content, it does not inherit the existing database genre elements, and it has been found that it has a different aspect from the existing customary form from the role of the character to the whole narrative. The analyzes presented in this study are equally valid for single content, not just for transmedia specific elements.

• The Korean Publising Journal, Monthly
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• s.146
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• pp.20-20
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• 1994

• (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.

• Journal of English Language & Literature
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• v.59 no.4
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• pp.593-617
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• 2013

Tales from Shakespeare, written by Charles and Mary Lamb in 1807, is an adaptation of Shakespeare's plays which was intended for children. Shakespeare's poetic language is transmitted into prose, which enables children to easily read his works. Charles and Mary Lamb collaborated in adapting Shakespeare's plays, but they undertook separate duties which revealed different attitudes in their approach to the adaptation. This dissertation examines Mary Lamb's adaption of Shakespeare's problem play All's Well That Ends Well and Charles Lamb's adaption of Shakespeare' tragedy King Lear, with an adapted pattern focusing on the plot and character. Charles Lamb stressed the "imagination of a fairy tale," which was against the trend in children's literature of the time, while Mary Lamb stressed "the moral and didactic element." Mary Lamb was concerned with the education of female children in the early nineteenth-century. As a result, the Tales presents "a double movement" or perspective, which stresses didactic elements, as well as imagination. These ambivalent attitudes caused critical debates in the nineteenth-century. However, the Lambs defended criticism against "the double movement," suspecting themselves to be "no bigger than a child," from the viewpoint of "the imagination," and reading the Tales to be effective at "making a child a virtuous man," from the viewpoint of "an education."

• (The) Research of the performance art and culture
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• no.39
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• pp.69-96
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• 2019

North Korea has conserved operas in a selective manner. The subject matters of operas recorded in the history of North Korea can be divided into classical tales, translated foreign works, Korean War and war against Japan. Operas that adapted folk classics of the 1950s are considered valuable materials to verify the changes of genres posterior to division of regime between North and South Korea. The officially confirmed works include "Kumgangsan Palseonnyeo (Gyeonwoo Jiknyeo)," "Chunhyangjeon." "Kongjwi Patjwi (Kotsin)," "Ondal," and "Geumnaneui Dal." These works had gone through recreation in terms of realistic situation setting, abolition of class difference, adjustment of social rank and punishment of evil while the base lies in the original folk classics. People emphasized in adapted folk operas are described as those who are hard-working souls without giving importance of difference of social rank, content with the currently living space, devoted to their parents and full of patriotic spirit, and members of community who participate in organized fights against unfair exploitation. This was the fruit of encouragement of work creation supporting union between labor and individual life, destruction of old things and fight promoting this destruction. Folk operas of South and North Korea posterior to Korean War have similarities in that both deal with a love story transcending social ranks and the concomitant conflicts and they focus on the audience who enjoy the operas. Nonetheless, they are different in that this love in North Korea became a tool of educating people wished by the regime, while it became an object of securing the audience by adding the tragic element to love in South Korea. North Korean operas of the initial stage are characterized by playwriting method emphasizing difficult life and compensation of common people, realistic stage expression, accentuation of melody and agreement between notes and lyrics. This was efforts designed to continuously lead senses concentrated from the theater to everyday life of people. In effect, this is in line with the playwriting method of revolutionary operas. Adapted folk operas were subject matters ideal for easily approaching the audience and leaving them good memories at the same time. To realize socialist realism, they went through an experiment of reviewing "people" through the classic folk operas. The possibility of continuation of a work was determined by thorough evaluation after carrying out an experiment in terms of subject matters, theme, music and operation plans from the moment of which the work was on the stage. The sign consisted in the possibility of visit of "Kim Il-sung" to appreciate the work and presentation of directionality. By proposing the clear directionality of which hard-working people who deny social status system can be duly compensated, it encouraged the audience who saw the opera to voluntarily put this in practice. Thus, operas established the directionality through selective processes for creating public communion even before revolutionary operas.