• Cartoon and Animation Studies
• /
• s.46
• /
• pp.107-128
• /
• 2017

Time is an indispensable element in creating a story. This makes comics artists use various time techniques such as prolepsis, summary, ellipsis and flashback to increase immersion in story when they create comics. This is intended to make a study on retrospective structure among various temporal structures. Retrospective structure means progress in different time sequence, and increases immersion by making readers become strained or relaxed. Besides, retrospective structure plays a role of increasing or decreasing the pace of story. The person who systematically put the retrospective structure into shape is $G\acute{e}rard$ Genette. He in his book "Narrative Discourse" classified retrospective structure into three types. These are made up of structure of analepse externes, analepse internes and analepse mixted. This makes a study on retrospective structure in narrative comics based on $G\acute{e}rard$ Genette's retrospective structure. To this end, Kang Full's webtoon was analyzed. The reason to analyze Kang Full's is that this work has storyline where things happening in parental generation is interwined with things in offspring generation, accordingly this is work suitable for studying the retrospective structure. This study is intended to examine whether three retrospective structures suggested by $G\acute{e}rard$ Genette are actually used through an analysis of , and as a result, it is intended to prove the fact that retrospective structure has an effect on immersion in work.

• The Journal of the Convergence on Culture Technology
• /
• v.9 no.6
• /
• pp.771-777
• /
• 2023

This study examines the strategy of using literary works to effectively present the emotions, narrative, and characters of a drama through the drama "I'll Visit You When the Weather is Good" (2020). The drama uses poetry to effectively show the internal conflicts of the characters, allowing the viewers to understand the characters much more closely. It also shows the narrative of relationship change and growth between the characters through the narrative of a fairy tale. On the other hand, by showing still cuts of the characters' diaries in each episode, it creates a lyrical effect, as if watching the drama is like reading a literary work. In this way, the drama "I will visit you when the weather is nice" actively utilizes literature to help viewers relate to the narrative of growth and healing and experience it as their own, thus creating a three-dimensional image of the healing effect of literature.

• Journal of Popular Narrative
• /
• v.26 no.3
• /
• pp.87-120
• /
• 2020

The study noted the characteristics of the web novel's 'Book Travel' motif, which reflects the characteristics of popular culture content, which is free to use familiar genre grammar or code. The imagination of the main character entering the work he read in the real world is a reinterpretation of the existing genre grammar of the web novel, and studying the motif is meaningful in reviewing the intertext of the genre. This motif, summarized as 'Book Travel' differs from other genres in the romance fantasy genre, which can also be used to reveal the gender characteristics of the genre. The study noted that the 'Book Travel' motif was born from an interactive interpretation of existing narratives, thus having a affinity with dimensional shift, regression, and alternative historical objects, and referring to the writing norms of Fanfiction. Through this, it was predicted that the re-combination of existing narratives and interference between genres would continue in the future. Next, the original move in the romance fantasy genre was seen as quite conservative and revealing the logic of self-improvement even though people around him became the main characters and overthrew the narrative. The characters should use their knowledge of the future of the real world to fight in a world of survival where destruction has been predicted. The appearance of an ethical and self-help subject is interesting, but on the other hand, I could look at conservatism in that romance is a way of survival and achievement of characters. The research is meaningful in that it reviewed the characteristics of the original transfer motif, which started fairly quickly in the romance fantasy genre, and reviewed its appearance background and characteristics. There was a limit to the collection of physical works and limited platform. The above limits are intended to be supplemented by further reviewing and supplementing later works.

• The Journal of the Korea Contents Association
• /
• v.20 no.6
• /
• pp.64-76
• /
• 2020

This research wanted to examine what narratives and discourse were being formed in web drama contents young generations were going crazy about. To understand the characteristics of such love epics and to know what narratives were being formed based on narrative structures and comments, this research specifically used the web drama produced up to the season 4 for the first time in Korean web drama history with a large number of accumulated views. It was found that the narratives of the drama composed the romantic relationships of four couples as independent episodes, and realistically highlighted separations and reunions of those couples, and suggested concrete methods to solve agonies and conflicts they would experience in such relationships. And, in user comments, there emerged relational narratives confusing friendship and love between partners of opposite sex, narratives regarding the third person as enemy, and narratives on typical sex roles in such romantic relations. And, the culture seeking subjective love style and sharing and sympathizing with the love histories also appeared.

• The Journal of the Convergence on Culture Technology
• /
• v.8 no.2
• /
• pp.243-249
• /
• 2022

Fairy tales are rooted in folk tales and contain human unconsciousness and universal emotions. It also plays a role as original content in various narrative transformation works. Andersen's brings numerous signification through symbolic signs of red shoes, dance, and ankle amputation. Victor W.Turner's theory of social drama broadens the perspective of narrative analysis. In addition, this theory makes us realize the conditions of the social community required by society at the time. As a circular content, Andersen's shows the double entry narrative of growth as a woman and incorporation into the social community. In this process, the social conditions accepted and rejected are symbolically revealed. In Koo Byung-mo's novel , achromatic color and red color are contrasted. The red world is full of vitality and represents the meaning of human existence. Yoon Mi-kyung's fairy tale is divided into different characters from the girl's growth narrative and the outsider's entry into the women's society. This work accuses preconceived notions and prejudices against multicultural families and strangers.

• Journal of Digital Convergence
• /
• v.11 no.12
• /
• pp.777-784
• /
• 2013

A novel is a conversation between self and the real world. They are not only sensitive act to the real world, but also a pattern of the real through the converse between self and the real world without making the real his own. This analysis on the works of Son and his essence shows that he tried to express his self-denial aesthetics and human-denial aesthetics as well as self-closing aesthetics.

• Proceedings of the Korea Contents Association Conference
• /
• 2018.05a
• /
• pp.505-506
• /
• 2018

애니메이션은 화면을 구성하는 모든 요소를 제작자의 의도에 따라 창조할 수 있다는 부분에서 메시지를 전달하는 표현 도구로써 언어적 성격이 강하다. 이에 애니메이션 작품을 대상으로 선정해 작품 속에서 묘사되는 공간의 역할과 그 상징의미에 대해 고찰하고 그것이 어떻게 기호화 되어 있는지에 대해 분석하기 위한 선행연구를 진행하였다.

• (The) Research of the performance art and culture
• /
• no.32
• /
• pp.489-524
• /
• 2016

This study examines the birth of a genre, the $Sekky{\bar{o}}bushi$ Misemono Opera, focusing on how it accepted and modernized Katarimono $Sekky{\bar{o}}bushi$. Unlike earlier studies, it argues that Terayama was clearly different from other first-generation Angura artists, in that he rebirthed the medieval story $Sekky{\bar{o}}bushi$ as a modern Misemono Opera. Shintokumaru (1978) was directed by Terayama $Sh{\bar{u}}ji$, a member of the first generation of Japan's 1960s Angura Theatre Movement. It takes as its subject the Katarimono $Sekky{\bar{o}}bushi$ Shintokumaru, a story set to music that can be considered an example of the modern heritage of East Asian storytelling. $Sekky{\bar{o}}$ Shintokumaru is set in Tennoji, Japan. The title character Shintoku develops leprosy as a result of his stepmother's curse and is saved through his fiancee Otohime's devoted love and the spiritual power of the Bodhisattva Avalokitesvara. In this work, Terayama combined the narrative style of $Sekky{\bar{o}}bushi$ with J.A. Caesar's shamanistic rock music and gave it the subtitle 'Misemono Opera by $Sekky{\bar{o}}bushi$'. He transforms its underlying theme, the principle of goddesses and their offspring in a medieval religious world and the modori (return) instinct, into a world of mother-son-incest. Also, the pedestrian revenge scene from $Sekky{\bar{o}}bushi$ is altered to represent Shintokumaru as a drag queen, wearing his stepmother's clothes and mask, and he unites sexually with Sensaku, his stepbrother, and ends up killing him. The play follows the cause and effect structure of $Sekky{\bar{o}}bushi$. The appearance of katarite, a storyteller, propelling the narrative throughout and Dr. Yanagida Kunio is significant as an example of the modern use of self-introduction as a narrative device and chorus. Terayama $Sh{\bar{u}}ji^{\prime}s$ memories of desperate childhood, especially the absence of his father and the Aomori air raids, are depicted and deepened in structure. However, seventeen years after Terayama's death, the version of the play directed by Ninagawa Yukio-based on a revised edition by Kishida Rio, who had been Terayama's writing partner since the play's premier-is the today the better-known version. All the theatrical elements implied by Terayama's subtitle were removed, and as a result, the Rio production misses the essence of the diverse experimental theatre of Terayama's theatre company, $Tenj{\bar{o}}$ Sajiki. Shintokumaru has the narrative structure characteristic of aphorism. That is, each part of the story can stand alone, but it is possible to combine all the parts organically.

• Cartoon and Animation Studies
• /
• s.51
• /
• pp.59-82
• /
• 2018

This study notes that the concept of painterliness, as defined by Heinrich $W{\ddot{o}}lfflin$, can apply to represent features in $Micha{\ddot{e}}l$, Dudok de Wit's animated short film Father and Daughter. It intends to examine the animated film's visual representation and narrative features in terms of painterliness. Comparing the Renaissance art style of the 16th century to the Baroque art style of the 17th century, $W{\ddot{o}}lfflin$ conceptualized the features of painterly style. In respect to this animated film, the images drawn by drawing tools are represented are represented by irregular and ambiguous shapes and meet $W{\ddot{o}}lfflin^{\prime}s$ conditions for painterly representation. Such a representation method in this animated film effectively functions as a double entendre or ambiguous narrative, while playing a key role in representing lyricism. In this animated film, painterliness contrasts with clarity, which commercial animated films provide, and plays a critical role in the representation methods utilized by auteurist animation directors. Painterliness in animated films is an element that should be highlighted, especially in the contemporary world where the forms of representation are becoming increasingly monolithic due to digital techniques. Continued research is greatly needed on this subject matter. Based on Father and Daughter, this study aims to examine the method of painterly representation that can be used in animation films, to explore its meaning and to underscore the importance of diversity in the forms of representation in animated films.

• Journal of Korea Entertainment Industry Association
• /
• v.14 no.7
• /
• pp.309-318
• /
• 2020

This research studies the specific cases of how Hayao Miyazaki re-arranges Hollywood's conservative storytelling model, such as the three-act, eight-sequences structure, and the use of antagonist and antagonistic force, and how he applies them into his fairytale-like narratives to increase the attention of the audience. At the same time, this research also studies the cases of how fairytale-like characters of Miyazaki's storytelling make up for the drawbacks caused by the re-arranged narrative structure and the relationship between the characters, to make the audience keep track to follow the protagonist's journey. This research focuses on the re-arrangement of the three-act structure and the eight-sequences structure. For the details, this research focuses on the alternative use of antagonistic force in My Neighbor Totoro and the cases of antagonists turning to the protagonists' side around the mid-point in Spirited Away and Howl's Moving Castle. Also, the study shows how Miyazaki expands the second act (the third to the sixth sequence) and shortens the third act (the seventh to the eighth sequence) to earn the time for the audience to be in the same position with the protagonist, and how the fairytale-like characters of these films make up for the disadvantages caused by the shortened third act.