• 한국HCI학회:학술대회논문집
• /
• 2006.02b
• /
• pp.602-607
• /
• 2006

80 년대 이후 국내 뮤지엄은 양적으로 많은 성장을 이루었고, 현재 전국에는 200 여 개의 뮤지엄이 개관 중이다. 이 중 많은 뮤지엄들이 기존의 역사나 자연사를 주제로 한 뮤지엄과는 다른, 다양한 주제와 내용을 다루는 '테마 뮤지엄' 을 표방하고 있지만 여러 면에서 외국의 선진 테마 뮤지엄에 비해 열악한 것이 사실이다. 이에 본 연구에서는 완성도 있는 테마뮤지엄을 위해서 테마뮤지엄의 구조를 내러티브 특성에 따른 고찰을 통해 구조적으로 이해하고자 하였다. 이에 본 연구에서는 테마뮤지엄의 속성을 규명한 후, 완성도 있는 테마뮤지엄의 실현을 위해서는 뮤지엄 내 내러티브성의 확립이 필수적이라는 가설을 검증하고자 하였다. 또한 이를 통해 테마뮤지엄의 기본 속성이 내러티브 구조에 있음을 논증하고 이러한 내러티브 구조가 명확히 드러나는 테마뮤지엄을 실현하기 위한 디자인 방법론적 접근으로써 테마뮤지엄의 내러티브구조 확립을 위한 방법틀을 제안하였다. 이 방법틀은 테마뮤지엄의 내러티브 구조, 내러티브 유형별 포지셔닝맵, 내러티브 체험과 재방문력 창출의 상관 정도를 제공함으로써 테마뮤지엄 디자이너의 내러티브 구조에 따른 디자인 개선책 도출을 도울 수 있을 것으로 사료된다. 또한 제안한 방법틀의 디자이너와 사용자 간 수용도를 알아보기 위해 사례연구를 실시하였는데, 그 대상으로 국내 뮤지엄 가운데 8 곳을 선정하였다. 이를 통해 내러티브 구조에 따른 디자인 계획이 관람객의 만족도에 큰 영향을 미침을 입증할 수 있었다. 이상의 연구는 국내 중소규모 테마뮤지엄의 질적 성장에 기여할 것이며, '테마'라는 특성을 가진 환경에 확대하여 적용할 수 있을 것으로 사료된다.

• Journal of Digital Contents Society
• /
• v.17 no.5
• /
• pp.391-400
• /
• 2016

The purpose of this study is to reassert the important role of sound design in creating narrative space in films. The main focus is on re-interpreting Chion's sound space composition as a narrative structure. The sound design process has been analyzed to find that the physical properties of sound are purposely manipulated to create the layers of sound to be perceived by the audience in the same way as human perception and cognition of the actual reality work, eventually to create the cinematic reality. The hierarchy of the layers is determined by the importance of the narrative information contained in each sound, with the higher layers being appropriate to convey the information of the narrative, and the lower layers being efficient to deliver the emotion to the audience. With this idea, each of the Chion's space composition is explained as a distinctive area in telling a story with the separate narrative role from the others.

• Journal of the HCI Society of Korea
• /
• v.9 no.2
• /
• pp.23-31
• /
• 2014

A variety of writing support systems focus on the information management or the feature analysis of the commercially successful narrative texts. In these approaches, the reader's role in the narrative creating process is overlooked. During a writing work, an author anticipates the reader's response or expectation to the narrative and he/she organizes the narrative either along or against the prediction about readers. Assessing and controlling the reader's comprehension in the development of events influences the aesthetic quality of the narrative. In this paper, we suggest a writing support system to visualize and adjust the characteristics of a narrative text related to the reader's comprehension, which is theoretically based on the narrative structure model and the event-indexing situation model. Under the development of the support system, we designed an interactive framework to create events as the basic units of story and arrange them onto both story- and discourse-time axes. Using this framework, we analyzed the organization of events about an actual film narrative. We also proposed both the continuity of the situational dimensions and the cognitive complexity as the characteristics to affect the reader's comprehension, hence we devised a method to visualize and evaluate them. This method was applied to the actual film narrative and the result was discussed in the aspect of the features of the narrative and wiring support strategies.

• Journal of Digital Contents Society
• /
• v.18 no.2
• /
• pp.293-301
• /
• 2017

This study collects 112 webtoon advertisements by Google extended search to reveal the narratives of webtoon in persuasive communication context. The results of content analysis are as follows. First, product categories are found relatively more in number such as content and game, cosmetics, public service announcement than other products. Second, the number of webtoon advertisements has increased these seven years; rather drastic increase is found in 2013. Third, as for the origin, brand webtoon is the largest number of all types. Fourth, there is a significant difference between public interest products and commercial products in absurdity advertising number. Commercial products use a variety of genres such as romance, drama, everyday life, including absurdity, while public interest products focus mainly on everyday life.

• The Journal of the Korea Contents Association
• /
• v.22 no.10
• /
• pp.181-194
• /
• 2022

between the Action-image and the Affection-image, there is the Impulse-image. IF the aesthetics of the action-image and Affection-image are realism and idealism, the aesthetics of the impulse - image is naturalism. since the impulse-image has traits of action-image and affection-image, naturalism refers to four co-ordinates: originary world/derived milieu, impulses/modes of behavior. In Deleuze's view, the great directors we call naturalists are Stroheim, Bunuel, and Joseph Losey.

• Journal of Digital Convergence
• /
• v.17 no.12
• /
• pp.451-459
• /
• 2019

This study is aims to examine how the skeleton character in Pixar's Animation is visualized for the narrative of the film and suggests the direction of attractive character development corresponding to the story. First of all, it was conducted the case studies on the narrative of animation, character design, character's emotion expression, and animations featuring skeleton character. Based on this study, it was derived the visual representation of the skeleton character featuring in and analyzed the role and function in the animation. As a result, the expressions by the skeleton's eyes, eyebrows, mouth, lips, and jaw played the most important role for the emotional expression and lines in , and the major characteristic for human facial expression was reflected in the design of the skeleton character. In addition, the various props were used to provide the detailed informations of the skeleton's character, and it was expressed the movement emphasizing its essential attribute. Finally, the skeleton's symbolic image was strengthened by composing and arranging the skeleton's image through Mise en scene. It is expected that this study will be used as a reference for the animation character related researchers and practitioners in the business and it helps develop attractive characters fir the narrative animation in the future.

• The Journal of the Korea Contents Association
• /
• v.14 no.1
• /
• pp.56-65
• /
• 2014

Most of experimental films have different visual techniques and aesthetic values compared to those of narrative films. This difference makes it difficult to understand experimental films. In order to understand in what ways the experimental film has broken with the convention of narrative film, it is important to examine certain structure of experimental film. The important aspect of many experimental films is the way that they have altered the nature of narrative by changing the way that we perceive the succession of image. In particular, The tradition of American Sturcture film has been the contribution of the experimental film to expand the limits of this rule system and evolve a more personal and organic approach to the continuum of film. This approach has been a method of understanding experimental films and still a useful aesthetic tools both reading personal films and making innovative works.

• The Journal of the Korea Contents Association
• /
• v.18 no.8
• /
• pp.272-286
• /
• 2018

VR movies form a relationship with the audience in completely different ways from general movies with their screen. In VR movies, the audience becomes the camera and also the subject of the camera viewpoint, which raises a need for a frame theory unique to VR movies to examine the first person viewpoint and replace the edition of frames to deliver a narrative. In VR movies, the frames delivering a narrative are not revealed and perform the symbolic narrative function, thus being called "implicit frames." The study discussed their related theoretical backgrounds including Russian Ark made in the one shot, one cut method by Alexander Sokurov, off-screen elements, and the Fourth Wall. In VR movies, the audience gets immersed in the narrative based on their paradoxical dilemma, which means that they exist in reality but are absent on screen at the same time, and experiences hyper-reality. In VR movies, space has a couple of attributes including the blocking of eyeline to move it and telepresence to tie up presence between reality and virtuality.

• Education of Primary School Mathematics
• /
• v.24 no.4
• /
• pp.203-216
• /
• 2021

Seeing the elapsed time as a quantity that can be measured is quite challenging for students while making students see it is also challenging for teachers. Tuning on these challenges, this article reports on what learning opportunities elementary teachers provide when they teach elapsed time focusing on quantitative objectification. I observed three mathematics classrooms where the elapsed time was taught by three elementary teachers and did a narrative analysis on the instructions. All three teachers utilized certain tools to support students access to the elapsed time as a quantity. They appropriated various quantitative attributes of the tool. In the case of the analog clock, one teacher tried to quantification the elapsed time with the number of minute hand's turning, while the other teacher indicated the distance of minute hand's moving. One teacher represented the elapsed time with the longitudinal attribute of the time band. Standing on the findings, the didactical implications of various attempts for quantitative objectification of the elapsed time implemented were discussed.

• The Journal of the Korea Contents Association
• /
• v.22 no.6
• /
• pp.194-207
• /
• 2022

Amid growing social interest in child abuse, and announced the seriousness of child abuse crimes and aroused public interest in related issues. Based on true stories and characters, both films created unique narratives about child abuse cases, but drew on the traditional representation and discursive construction of child abuse news articles. By setting the stepmother as the perpetrator and the father as the neglecter, the gender role of women as primary caregiver was reconfirmed and the stereotypical image of the 'evil stepmother' in popular narratives was exploited. The cinematic reenactment of the evil stepmother not only highlighted the normative family discourse, but also reinforced the maternal myth by emphasizing the binary opposition between the evil stepmother and the lost birth mother.