• The Journal of the Korea Contents Association
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• v.14 no.3
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• pp.113-124
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• 2014

Ah! My Goddess has impressive narrative structure including a "narrative as a discourse," a "narrative as a story" and a "narrative by narrator": in a narrative as a discourse, North and South Korean soldiers make friendship; in a narrative by a narrator, main characters (including Sun-ho, Seok-gu, Ju-hwa, Chang-seop and Dong-hyeon) appear in the outer story and narrate the inner story of characters (including Dong-hyeon, Goddess and Seok-gu) within the frame of a play within a play; and in a narrative as a story, reality and fantasy intersect by the appearance of the "Goddess." This narrative structure contributes largely to 1) the character formation of space, 2) the strategic minimization of the stage, 3) the multiplicity of main characters, 4) the repetition of similar life story, and 5) the flexible change of a point of view. And the musical number serves as dramatic functions such as 1) pursuing the multiplicity of characters, 2) maximizing the effect of the expression of tragic feelings, 3) drawing audience's interest by irony and fantasy, 4) evoking the nostalgia for delicate feelings and pure wishes, and 5) ordinary female characters' playing the role of healing and salvation, thereby contributing to the reconstruction of reality and the style of fantasy.

• The Journal of the Korea Contents Association
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• v.21 no.5
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• pp.949-960
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• 2021

Documentaries based on facts not only contain the spirit of that era but have been transformed in various ways according to changes in technologies and media. This study analyzed under the premise that the original documentary of YouTube plays a role in representing the characteristics of the medium. YouTube's original documentary is released on YouTube and then re-edited and released as a documentary film, and has the same shooting source, and is edited and described differently depending on whether it is a YouTube or a movie. This is the content that can confirm the media differences between YouTube documentary and documentary film. The cinema version shows the difference in that the narrative is developed using third-person narration and subtitles, mainly for handheld shooting and smooth editing, and the YouTube version is developing the narrative centering on audio-centric rough editing, interviews and background music. Through this, it can be seen that the YouTube version reinforces intimacy through a personal and direct expression method, while the cinema version reinforces objectivity through an official and indirect expression method.

• (The) Research of the performance art and culture
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• no.39
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• pp.31-67
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• 2019

This thesis examines the difficulties of utilizing the narrative and music of Pansori: 판소리 in Changguk: 창극. For this examination, I consider that the reason for the difficulty of making Changguk is the difference between Pansori and Changguk as the genres. Most of the Changguk based on the traditional five Pansori works perform the narration and songs of Pansori literally. However, the original narrative of Pansori has a distinctive dual structure since the formation of its first and second half is created separately. As the drama genre visualizes the story and emphasizes the consistency of action, unlike Pansori, the duality of the original narrative can be seen as the inconsistency of the action. In addition, since the sounds of the original Pansori are rather explanatory than dramatic even in the climax scenes of Jeokbyeok battlefields, it is difficult to produce dramatic scenes in Changguk. The voices of the military, not in the original works, play important roles in revealing the hidden theme effectively in Changguk. However It is impossible to relocate the original text of Pansori into Changguk, as even the voices of the military lack verisimilitude in terms of narrative. Changguk can only be developed as its own work by actively researching and dismantling Pansori .

• Journal of Popular Narrative
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• v.26 no.3
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• pp.255-288
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• 2020

The purpose of this study is to propose 'plot lamination methodology' for planning and analyzing of storytelling. The story contents with a certain volume of narrative might have several important characters. Most of the characters have meaningful influences on the context of the story through their choices and actions as they go through dynamic changes to construct and deconstruct relationships. The plot lamination methodology is the result of an attempt to look at the process from the 'strategic' point of view by focusing on the fact that the main characters with supplementary nature contribute to the independent formation of subplot based on the main plot driven by the protagonist. Regardless of how they live their own unique and autonomous life in the narrative, the main characters hold a relatively subordinate position within the centripetal force of the main plot. Their journeys tend to expand/emphasize/divide up the process of the main plot's 'persuasion via causality,' and also individualize into the functions of emotional sympathy (pathos), moral, ethical perspective (ethos), and rational logic (logos). As such, the subplots of main characters are laminated according to these three functional traits, which could become multi-layered through second or third laminations, depending on the number and roles of other characters. If the plot lamination methodology is further developed through follow-up studies, it will open up the possibilities of the strategic design (planning) and aesthetic criticism (analysis) regarding the procedure of conjugation /branching of subplot and/from the main plot.

• Journal of Popular Narrative
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• v.25 no.2
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• pp.217-245
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• 2019

Recently, the interest among Korean broadcasters in the 'observation entertainment' genre has intensified. This study aims to analyze the genre and storytelling of observation entertainment programming from a narratological perspective. The origin of the Korean observation entertainment program began with the 'reality-variety show'. There was a 'real-life' debate in these reality-variety shows, and as an alternative, the observation entertainment program appeared. Documentary filming, omnibus composition, and spatialization of 'everyday' life have led to the recognition of observation entertainment as a single genre. In particular, 'observers' have become a key factor in the observation entertainment program. The subject of the program is determined by who the observer is. The variability of the program format is the same. The observer looks at the observation target on behalf of the viewer. At the same time, he or she serves as a narrator of the program. The observer functions as the most influential factor in the storytelling of the observation entertainment program. In the observation entertainment program, 'observation' is only a form. It is the observer who creates a narrative within this same format to make the difference between each program. Also, voyeurism has been considered a problem in reality shows such as observation entertainment programs. However, the form communicated by observers is not a direct peek, so much of the problem of voyeurism is mitigated. Such observation entertainment programs analyzed through observers are meaningful in that they make people understand the cultural meaning of "reality" in TV and the storytelling of contemporary Korean TV entertainment.

• The Journal of the Korea Contents Association
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• v.15 no.8
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• pp.130-140
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• 2015

With the growth of media platforms and fierce competition in the media market, there have been focus on cross media storytelling, a remediation of content already proven successful to another type of medium. In particular, webtoons have emerged as being successful source media, and this study analyzes how the webtoon 's narrative is expanded and transformed in the remediation process into TV drama. The results showed that, the webtoon , which was targeted at a relatively more specific audience, objectively described stories of the life and hardships of an office worker through a contractual employee at a trading company navigating work life based on strategies of Baduk; while the TV drama version, which aims to appeal to a broader audience, strengthened popular narratives with topics of social issues such as 'hardships of the non-permanent employee', 'sexual discrimination and sexual harassment in the workplace', 'difficulties of a working mom', and 'romance between new colleagues'. In addition, in order to create dramatic enjoyment, the drama's storytelling strategy incorporated conflicts by creating confrontational relationships among good and evil characters, and added humanism and comedic effect.

• The Journal of the Korea Contents Association
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• v.5 no.5
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• pp.92-99
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• 2005

It is not easy to understand that the drama with various aspects of political-economics and psychology in a certain popular cultural contents. People, however, does want to reconstruct the meaning of the real world and the hyper - reality, it means cross of oldness and newness, through the films. We try to analyze in religious/philosophical aspect with hybrid narrative, characters and condensed meaning in series. This try shows a good example way of understanding series which on the border line of newness and oldness.

• English Language & Literature Teaching
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• v.7 no.2
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• pp.115-127
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• 2002

This study aims to investigate John Fowles's The French Lieutenant's Woman. This important postmodern novel is arguably the most important fiction published in England during the 1960's. John Fowles, along with Muriel Spark, Irish Mudoch and Doris Lessing is one the most influential postmodern writers. This is a study on the narrative technique, multiful endings, parody and author intrusion. The French Lieutenant's Woman is metafiction - a novel about writing a novel. The author says "This story I am telling is all imagination" in chapter 13. That is to say that John Fowles subverts traditional and even modernist poetics. His own intentional attempt to depart from traditional narrative structure is itself one of the novel's central issues. Through The French Lieutenant's Woman John Fowles shows postmodernist writers' narrative strategy.

• 중국학논총
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• no.68
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• pp.75-94
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• 2020

If 《Bailuyuan》 is a piece that reflects the trend of changing Chinese contemporary literature after the 1990 reform and the opening up of socialism, 《Taebaek Mountain》 is a literary masterpiece that shows the peak of the people and coincided with subject controversy in the 1980s. These two pieces of literature were based on a common experience swayed by the encroachment of Japanese imperialism, and they became best sellers in Korean and Chinese literary circles in the 1980s and 1990s. Based on their similarities, this paper focused on and took a closer look at character modeling in the two texts. In these books, the investigators also discuss how the main characters of Bailuyuan and Taebaek Mountain are portrayed, and how this portrayal strategically works to realize the theme of the text as well as the literary significance, value, and expected effects of the comparison between these two pieces of literary work.

• The Journal of the Korea Contents Association
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• v.21 no.11
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• pp.268-280
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• 2021

This study analysed the narrative strategies in TV drama utilized in order to support the recent feminism movements. The analysis revealed that this TV drama breaks away from the clichéd patriarchal drama series. It portrays the main characters are not the sons but the two daughters-in-law, and represents the women challenging the order of the patriarchy, and resolving the issues. In this drama, men's power was removed and female agents were held up to ridicule. In addition, it eradicates the traditional female conflict structures and creates a strong bond between the females. With this storyline, TV series concludes with two achievements. One, the stepmother and the mother co-parent the child instead of the father, suggests that a non-blood related matriarchal family is possible. Two, the heir to the chaebol family, which is traditionally a patrilineal structure, is not the oldest son or the immoral son, but the lesbian daughter-in-law, overturning the idea of heteronormativity that is dominant in the patriarchal system.