• Journal of Korean Classical Literature and Education
• /
• no.33
• /
• pp.255-283
• /
• 2016

There are different variations in folktales. Sometimes folkltales are combined with another folktales. This is probably done to make it an object-oriented narrative in which an epic attempt is made to strengthen an issue that was not resolved earlier, or a context that was not completed. The wood cutter and the heavenly maiden and Snail bride, are commonly noted for their gender relationship. These tales represent issue of continuing relationships between men and women. Particulary, how in the process of doing so, they succumb to their desires. This striving for lasting relationships does not end happily because "the man" in each case was immature and not able to think clearly. Other folktales were combined with these tales to resolve this problem. The man was transformed into a mature person and the wrongdoer's excessive greed was punished. The narrative of the folktales was changed to bring out the epic of growth, or the epic of punishment. This can be understood through the concept of narrative scheme. Folktale combinations in narrative schemes can be used effectively in narrative education.

• Journal of Korea Entertainment Industry Association
• /
• v.14 no.7
• /
• pp.287-298
• /
• 2020

The purpose of this study is to analyze the narrative structure and types of films that has attracted more than 10 million viewers ('10 million films') among films released in Korea, and deal with the implications of the current Korean film industry. To this end, this study investigated the relationship between films and their narrative as a product of the film industry. To approach this, We dealt with the features of structuralist analysis and archetype or mythological narrative analysis. For a detailed analysis, a total of 27 films of "10 million films" were categorized using Northrop Frye's original narrative analysis method. As a result of the study, 13 comedy structures, 7 romance structures, 4 tragic structures, and 3 irony and satire structures. It was confirmed that the "comedy" and "romance" structures had a high percentage of all 10 million films, and occupied the top ranks in the box office rankings. In conclusion, this study confirmed the narrative rules and customs of films hitting Korean box offices, and through this, it was possible to examine a rough topography of the film consumption of the public in the Korean film industry. This can be said to provide a clue as to how the narrative of the film should be constructed when producing a film from an industrial perspective.

• Journal of Korea Game Society
• /
• v.18 no.2
• /
• pp.59-68
• /
• 2018

A visual novel, a type of digital content combining novel and game, was designed as hypermedia which includes various media, for instance, image, sound, and video. The narrative of visual novel contains multimedia elements and highlights multi-scenario structures based on hypertext. Prior to creating visual novel scenario, a writer should thoroughly consider two main points. First of all, the scenario should cover the multimedia features of visual novel. Secondly, the scenario should be structured as a multi-scenario providing with performativity to players for interaction with readers. This study examines the influence of changes in platforms on visual novel scenario adjusted to mobile environment. It would provide an opportunity to understand how storytelling changes and adapts to rapid transformation of digital media contents.

• The Korean Journal of Archival Studies
• /
• no.81
• /
• pp.89-131
• /
• 2024

The aim of this study is to propose the introduction of narrative description as an improvement to describing archives, thereby enhancing the user experience of archives. To achieve this, the study identifies the specific forms and positions of narrative elements in archives and analyzes the interaction between archival description and narrative elements. It also examines cases where narrative description has been applied in digital archives to analyze their purposes and identify the various types and characteristics of narrative description for the improvement of description and considering factors that should be taken into account when implementing narrative descriptions. Theoretical research explores the concept and role of narrative and analyzes how it is manifested in describing archives. Case studies investigate the types of narrative description in digital archives and explore their roles. Narrative description emphasizes that it can facilitate implementation by establishing the narrative identity of archivists as context constructors, conducting extensive and deep research on records, and planning collaborations with experts. However, due to the lack of concrete implementation plans for narrative description in the practical archives, further research is needed to develop models of narrative description and prepare various examples of narrative applications.

• Korean Language and Literature
• /
• v.67 no.67
• /
• pp.45-71
• /
• 2018

Songgubong is a person in the mid-Choseon Dynasty, but he is a person who is exalted as a teacher of four generations. However, the life of Songbong was a series of trials of 'returning' due to the environment and political changes born in prestige. There was also a political upheaval in the era where he lived, such as a Sinsamuok, Kichukoksa the beginning of Parts. Songgubong also shared his friendship with YulGon, Sounhorn in his life. This paper examines the narrative style of the Songgwon legend, who was a real person of the Choseon Dynasty, and examines the historical meaning of the Gubong legend. In this paper, 40 pieces of Songbong were analyzed. So I made 20 pixels and 5 narrative types. The basic form of the Songgwangbong legend is 'the exchange between the man and the gongbong - the complaints of the surrounding men - Songbongbang face to face and overwhelming'. This basic type is expanded to an anger that strengthens Songbong's greatness, an anecdote that worsens Songbong's desire, and an anger that emphasizes the misery of Songbongbong. Following the basic type and the extended type, the comprehensive type is combined with the active play. Actually, Songbong was in exile and could not participate in the war. However, the legendary Songbong is short enough to shorten the duration of the imprisonment, or to give the Turtle Ship to Yi Soon Shin. The story of the ending of the Imran in a few months if it has been used properly has been handed down on the Internet. Song Hyung-bong, who is a politically talented person, plays an active role as a novi in the story. Songbong is a "hero" who escapes from the constraint of "novi" and interacts with them in a similar way, controlling them with "eyes" and charisma. Song Jung - bong 's performance succumbs to Lee Yong Song and controls Yulgok and Yi Soon Shin. In addition, the legend of Jinan, which can be said to be the scene of Ogasaki, is still handed down to the dignity of Songbong. The evaluation of the Songbong who made a stroke of the company is interpreted as a political sacrifice in narrative. Compared to the spiritual virtue of the person who interacted with him, the marriage, and Jungchol, Songbong was the one who was able to withstand the years of vigor due to the occasional ox. The meaning of the Songgwon legend in the Conflict is that, apart from the partisan lessons that had to be taken from the existing records, the people are worshiping him as the epitome of the great weak which is excluded from real power. I hope that this legend will make it possible to look at the existing evaluation from a new angle.

• Journal of Korea Game Society
• /
• v.16 no.2
• /
• pp.75-86
• /
• 2016

Game studies of theatrical approach explained interactive property of game in humanistic background. Those studies analyze the game, and based on Aristoteles Poetic Attribute. But theatrical approach has a problem by user's unpredictable intervention in narrative (Active narrative). This paper intended to see in the glance of any impact on the Aristotelian model by active narrative. As a result of the active narrative remake the causality between materials of drama. Also, it can be seen to define a kind of the "Improvisation" in theatrical view. But it exposed a essential difference in the form an expression by substance and material of media. It was defined forms of improvisation in the gaming environment which are 'Self-generated Individuality', 'Self-definition Faction', 'Eccentric Behavior Contending', 'Trolling' and 'Bug Play'. Finally this paper proposes the characteristics of the improvisation of the game and the direction to be improved game analysis model in humanities through forms of improvisation in game environment.

• Journal of Korea Entertainment Industry Association
• /
• v.14 no.1
• /
• pp.41-49
• /
• 2020

Narrative activities are closely related to the space where human beings live and their awareness of space. In the film Parasite (2019), Director Bong Joon-ho demonstrated his unique insights into the spatial layout of the city. He not only built opposing up and down spaces with clear differentiation of distinct classes, but also conducted complex and smooth narratives in space. Bong Joon-ho used realism to express differences and some unresolvable contradictions between the classes in capitalist society by showing the daily lives of people living in different spaces. This present research focuses on Bong Joon-ho's spatial narrative in the film Parasite, hoping to observe the relationship between characters and between social classes, further exploring Director Bong Joon-ho's spatial narrative awareness and his film creation style. The research reveals that space, an important element of film narrative, has been paid attention to in the film Parasite and space is the narrative's foundation in this film. The narrative of film space is not limited to physical space but also refers to the relationship between characters and the society in which they live, showing metaphorical significance. This film transcends a genre film, portraying the changes of social classes in the development of the society. The film as a whole is one combining ideology and artistry. Every viewer can feel resonated from this film and understand the thought-provoking social situation.

• Journal of Digital Convergence
• /
• v.17 no.8
• /
• pp.401-406
• /
• 2019

Recently, as multi-platform game environments become common, many games of convergence genre have been produced, and the boundaries of genre division by existing platforms have become blurred. The game genre is convergence content consisting of user-centered 'narrative and play'. In this paper, we propose a game genre classification according to the user 's behavior type based on the essential recognition that the subject of the game is the user. The user's actions are done in different genres and goals and rules, and the interaction is an important act for immersion. Therefore, the user's behavioral classification and perception by the game genre are important and expected to help redefine the game structure.

• The Journal of the Korea Contents Association
• /
• v.16 no.8
• /
• pp.640-650
• /
• 2016

This study analyzed the narratives of love of "delusional" characters in the works of Jungae Lee and Shijin Yoo, whose cartoon creations were prominent in the 1990s and the early 2000s. Their delusional characters can be characterized by excessive obsession with their objects of love, rejection of realistic logic, madness, and extreme selfishness. They make a type of characters whose traces have disappeared not only in the South Korean society of the 21st century, where love and dating are included in the discourse of self-development and dramatic pathos is regarded as the waste of feelings, but also in creative works. It is still, however, needed to pay attention to the selfishness and collapse of those delusional characters that reject the order of the world and focus only on their love because they make the audience betray the sentimentality of melodramas stimulated by the popular culture and reconsider the concept of "love" itself. While Jungae Lee displays the progress of delusional characters and their narratives of love toward collectivized compulsion with the Messiah motif of Christianity, Shijin Yoo presents a narrative of delusional characters with lost memories reacting to hysterical fantasies and eventually choosing their collapse. Their two narratives are significant in that they propose the archetype of personal desire eliminated by the narratives of love in melodramas.

• Proceedings of the Korea Contents Association Conference
• /
• 2019.05a
• /
• pp.337-338
• /
• 2019

중국 저예산 영화는 다년간의 탐색하에 영화예술창작에서나 시장에서의 상업성적인 측면에서 비교적 좋은 발전을 가져왔다. 예술창작 측면에서 말하면 최초의 '개인 서사'부터 상업유형 영화의 축제로 또 서사 방식의 다원화까지 이미 점점 성숙에 나아가고 독특한 풍격을 형성하였다. 상업적으로는 입소문 마케팅과 차별화를 널리 보급하는 것이 저예산 영화에 새로운 경험과 결실을 가져다주었다. 본 연구는 영화의 예술성과 상업성 두 가지 측면에서 <나는 약신이 아니다>라는 영화에 대해 분석연구를 하고 또 성공 경험을 정리하여 신인 감독들의 작품을 위해 참고할만한 방향을 제시하고자 한다.