• The Journal of the Korea Contents Association
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• v.10 no.5
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• pp.107-114
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• 2010

A nonlinear story is generated through the interactivity with users using the interactive storytelling system. In a play or movie, audiences can watch one scene at a time, and in order to watch next scene, they should wait for the end of current scene. In the real world, however, various events can simultaneously happen at different places, and even those events performed by characters may dramatically affect the flow of the story. This paper suggests Constraint Based narrative structure to create such story, known as "Simultaneous Story Arcs", and "Multi Viewpoint" to simultaneously lead the direction of the stories in each place.

• The Journal of the Korea Contents Association
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• v.17 no.12
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• pp.408-416
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• 2017

This researcher looked at the characteristics of "$N\bar{a}tya$ $\acute{s}\bar{a}stra$" acting techniques focused on body expressions and sought to utilize it as training method for modern actors. 'Body postponement as a symbol' is a key characteristic of "$N\bar{a}tya$ $\acute{s}\bar{a}stra$" acting techniques, and each facial expression, gesture, and movement performed by an actor has a specific meaning. Therefore, the study on "$N\bar{a}tya$ $\acute{s}\bar{a}stra$" has been treated as a major study mainly in the non-realistic expression style or the body-centered acting theory. Therefore, a study on "$N\bar{a}tya$ $\acute{s}\bar{a}stra$" acting techniques was mainly dealt with as a major research subject in the nonrealistic expression style or body-centered acting theory. This study, on the other hand, emphasized the importance of research on the utilization plan of actor training, which can be usually used in realistic plays as well as non-realistic plays. According to psychologists such as Damasio and Eckman, internal impulses can also be triggered through expressions and actions associated with emotions. In addition, not only acting through the actor's inner impulse, but also expression of the actor's faithful external emotion can trigger the emotion of the audience. Such a case can be a psychological basis that "$N\bar{a}tya$ $\acute{s}\bar{a}stra$" acting techniques, which defines rasa and expresses it physically, can be used as a methodology to enhance inner truth. Therefore, the study on the actor training utilizing ing "$N\bar{a}tya$ $\acute{s}\bar{a}stra$" can be applied as an effective approach in the study of contemporary acting theory which intends to integrate inner impulse and external expression.

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

• The Journal of the Korea Contents Association
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• v.22 no.6
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• pp.78-91
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• 2022

The importance of emotional intelligence education in the development of children's augmented reality education content is overlooked. Therefore, in-depth research is needed to develop children's emotional intelligence. This study was conducted through theoretical consideration and case analysis. The proposal of this paper is that the augmented reality type for children aged 2 to 7 is suitable for indoor activities with marking recognition technology. To promote an understanding of emotions, a large screen is selected, and emoticon dolls or emoticon books are recommended for learning content. Children aged 7 to 11 are suitable for indoor activities of non-marker recognition technology, and can induce emotional control and emotional recognition through active manipulation. For the learning content, "3D art teaching content" and "Online Classic Musical" are recommended. Children after the age of 11 are suitable for non-marker recognition technology outdoor activities and improve each element of emotional intelligence through interaction with nature and society. For the learning content, 'Forest Play Activity through Art' and 'EQ Theater Play' are recommended. Through this paper, we intend to promote the development of children's augmented reality emotional intelligence education.

• Journal of the Korean Geographical Society
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• v.45 no.5
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• pp.669-687
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• 2010

Critical scholarship has shown itself much more adept at identifying and analyzing the content of religious geopolitics than its impacts or effects. This article suggests ways in which the concept of social performance can be used to more carefully consider the effects of religious geopolitics. Judith Butler's identity-oriented notion of performativity is usually geographers' point of entry into issues of performance. But its strong poststructuralist distrust of agency limits its power among those who question poststructuralism's grounding beliefs. This article illustrates the added utility of other theories of performance-particularly the recent pragmatic, dramaturgical, and non-poststructuralist theorization of social performance by the cultural sociologist Jeffrey Alexander-in evaluating the impact of religious geopolitical action. It does so through the case of a recent, particularly geopolitically laden Mormon General Conference. It concludes, through Butler and Alexander, that this General Conference likely accomplished significant geopolitical work. But it also, mainly through Alexander, argues that this work likely had limited capacity to motivate new or additional geopolitical action. Its power was more to reinforce than transform.

• Journal of Digital Contents Society
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• v.11 no.4
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• pp.607-614
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• 2010

History centered knowledge based story-telling project planning tool supports the process of story creation in narrative genre about history of families or individuals. Narrative fields not only include drama, mythology, legend, history but also non-verbal epics such as movie, play, ballet and opera. But as verbal epic, this research paper focuses on the family history and individual history of each household. This story-telling planning tool redevelops each genre of story-telling about family history through sampleDB and informationDB, and it is widely applicable in concreting high quality stories in both its content and value. Reduces the time of planning story-telling, and impose minimum expenses in human resources. Content about family history is one of the most the fundamental and renowned contents in Story-telling but planning tool that is easily applicable in creating such content does not exist in statue quo. In this current system lacking creative infra, this research paper seeks to provide a planning tool that public can easily utilize, and by systemizing the tool. it aims to create a creative contents tool model applicable in variety of genres.

• Cartoon and Animation Studies
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• s.25
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• pp.87-108
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• 2011

Published comics are widely recognized as a popularity-gaining media as well as Soap opera and the movies, and it also has a established characteristic of category. However, compare to the multimedia such as the movies, soap opera and playes, the research on direction is not yet satisfactory This research mainly tries to investigate on, first, whether the theoretically classified functions do actually practice their parts or not, and else, what other additional functions should be considered, by classifying the set up of basic direction functions, angles and range, which the most-cited angle and distance notion of 'Ahn Su Cheol' in comic education field. First, although we tried to approach with the expectation of angle and distance set up that will have a high frequency of certain set ups according to the atmospheres of comics of genre, unlike the expectation, they are rather displayed depending on the personal taste of the writers. The functional aspects of angles and distance set up are the fixing that are only limited in the space of representation, and it is the set up of physical space that should come first as the function of expressing the intensity. As we investigate the characteristics of comic direction, this research will help the range of comic direction to be broadened.

• The Journal of the Korea Contents Association
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• v.21 no.9
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• pp.136-148
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• 2021

In this study, the theoretical principle and structural practice of Estill Voice Training model that enables independent control of voice organs in the actor's acting art using voice as a medium of artistic expression. Its purpose is to explore the positive utility that can be applied to operation. The research on the speech science methodology that controls the differences in speech output due to the principle of the generation organ is a reality that has not been actively introduced in Korea compared to the existing actor's speech training that encompasses both the mind and the body. Voice can guarantee the accuracy and stability of operation when an understanding of our body is preceded based on anatomical physiology as well as contribute to the characterization of the character's phonetic character an element of character creation. Considering the training model through proprioception in actor voice training has practical value and alternative significance that the actor can be sought as a principle and practical methodology in the process of generating a series of target sounds.

• (The) Research of the performance art and culture
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• no.22
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• pp.45-61
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• 2011

Performers of 'Seoul Jinjinokigut' point to aesthetics of performance centered on sense of sight, not sense of hearing. 'Seoul Jinjinokigut' is a kind of theatrical mode of performance, not narrative mode of performance. Performers of 'Seoul Jinjinokigut' succeed in making of relationships of harmonious fusion between 'social drama' and 'stage drama' through performing of Jinjinokigut. 'Seoul Jinjinokigut' is a kind of mode of performance that fuses life and death, not narratively but theatrically.

• Journal of English Language & Literature
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• v.55 no.4
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• pp.567-596
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• 2009

A staple of feminist literary anthologies which was instrumental in reevaluating the writer Susan Glaspell, Trifles(1916) has received numerous comments from feminist scholars so far. Most of them tend to concentrate on the themes of female solidarity and justice challenging the androcentric system of law and order. Lacking in the plethora of thematic approaches to the play's feminist subject, however, are formal analyses considering the way in which the play's generic form assists in communicating such thematic concerns of feminism. An alternative to the typical scenario at the courtroom whose mistreatment of women must have loomed large to the young Glaspell as she revisited the old trial of a midwestern murderess which she had covered as a journalist for a local newspaper in Iowa, Trifles serves as a corrective to the courtroom dynamics offering a 'dramatic justice' as opposed to a strictly legal procedure. What this article discovers at the heart of this dramatic justice is the celebration of the unsayable, or what Wolfgang Iser termed negativity, of women's experience which has no room for reflection in the legal discourse at the courtroom tyrannized by the sayable and the evident. Examining how the dramatic form of Trifles gives a voice to the unsayable of woman's experience, which can not be properly represented at the courtroom governed by the straightforward and definitive male rhetoric, the article argues that the play is a better form than its fictional adaptation "A Jury of Her Peers"(1917) in that it syntactically suppresses the monopolizing operation of the verbal by giving precedence to the scenic and non-verbal which is constituted of setting, props, gesture and eye contacts. As a theoretical frame of reference with which to examine the modes of the unsayable in the play the article brings the concept of 'negativity,' defined by Iser as textual effects or modes of the unspeakable and unsaid, into the discussion of the taciturnity of the absent heroine and the non-verbal representation of drama.