• Cartoon and Animation Studies
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• s.25
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• pp.1-39
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• 2011

It is important to create animation storytelling because it is the most critical factor to make animation successful at the box-office. As such, lots of researchers have paid attention to Disney's animations because the Walt Disney company has produced the largest number of interesting animations. One of Disney's strategies to make story interesting is the application of original works that were already open to public. On this point, this article explores how Disney deals with characters in its animation that is based on an original work. Drawing a comparison between characters of and those of "Hua Mulan", which is its original work, this article focuses on how characters are created and used for the purpose of managing animation storytelling. Significant differences between two works exist. That is to say, actively makes the use of characters. First, it creates several new characters that are not seen in "Hua Mulan." Those characters can be divided into three groups by their roles; realistic characters, unrealistic characters, and realistic characters of unrealistic personalities. Second, Mulan in has both masculine initiative and feminine adaptability, and each one is used as necessary through the whole narrative. Last, it sets up a relationship between characters either in a blood-based family category or in a social category. Through these results, it is possible to confirm that this modification of characters is solely to manage the narrative with more flexibility.

• Journal of Popular Narrative
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• v.26 no.1
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• pp.103-132
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• 2020

By analyzing the characteristics and meaning of dystopia in Korean juvenile science fiction, this study aims to search for the principles of juvenile literature responding to the contradictions of scientific technologism in collusion with state capitalism, and to consider its limitations and significance. This study focuses on the juvenile science fiction in which children or teenagers fight against system dystopia functioning as a setting of the story. System dystopia consists of 'fake utopia' and 'concentration camps' holding those excluded from this 'fake utopia'. Young people whose right to life are violated under the system dystopia escape from concentration camps and fight against political power. We don't have many novels that have focused on environmental dystopia, but a nomadic subject is found in works set on Earth after environmental pollution or nuclear explosion. In short, juvenile dystopia science fiction deepens the contradictions of the hierarchical society based on scientific technologism, criticizing the repressive, material-oriented and differential educational realities of our society. They hope that children or teenagers will act as a resistance that sees through the deception and hypocrisy of the social system. These works are significant in that they expose the biopolitics strategy of political power in collusion with industrial capitalism and induce us to reflect on it. However, it seems to be the limit of humanism to equate human life with nature and to warn of dangers of technology, machinery, and material civilization as the counterpart. This paper has the significance of taking a general survey of juvenile dystopia science fiction since the 2000s, and revealing the writers' perception of scientific technologism and its limitations.

• The Journal of the Korea Contents Association
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• v.20 no.1
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• pp.364-377
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• 2020

Although it is never easy to create charming characters that people can relate to, well-formed characters have the power to enable the audience to not only empathize but identify with them. Thus, there is a need for us to examine the parts that make up a well-formed character. According to empathy theory, when the character in the play has a human face that is not different from me, I can feel familiarity and human empathy. Rather than perfection without loopholes, I relate to and sympathize with someone who looks similar to me, with many mistakes and some lack. This study aims to examine the attractiveness of characters in narrative dramas in terms of defects and internal growth. To do this, we tried to compare the setting, evaluation, and performance of characters based on the movie worldviews of two famous brands (DC and Marble), which can be compared directly. I looked at it. In conclusion, the work of hero character but human character setting based on internal growth not only has high evaluation and public evaluation, but also high sales, and thus direct and indirect correlation with the public favorability is significant.

• Journal of Popular Narrative
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• v.25 no.2
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• pp.247-275
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• 2019

We hope that more diverse interests will arise in the novels by Park Gye-hyeong By looking at writers and works in time, we identified the key element of Park Gye-hyeong's novels as 'romantic'. Romantic nature of this time is lyrical, sentimental, spiritual, unrealistic and idealistic. Based on a romantic understanding of the world, the core sanction of the novel is love, focusing on feelings of sadness, and on the aspects of joy, separation, and pain that arise from loving relationships rather than the aspects of joy. Based on the feelings of grief, the novels end with failure, death and betrayal, thus embodying tragic romanticism. Before her marriage, Park Gye-hyeong's novels were love stories that revealed her longing for beautiful love based on sensibility. The idyllic world and longing for nature reveal a romantic world-view. Ultimately, it is a fictional worldview that the author seeks to despair and long for, and to find the sincerity and morality of love in an environment that does not. Park Gye-hyeong, who became a housewife, expressed that she wanted to write a piece that can give readers a sense of nostalgia by embodying "romance at a high level," not "sentimental." In subsequent works, physical relationships are treated as failures of love and spiritual relationships as the fruit of love, revealing the lofty spirituality, idealistic longing and religious nature of love. Park Gye-hyeong confessed her shame about her previous work when she published a new one after more than two decades of writing. And after more than two decades of reflection, her new novel had a new theme of "recovering destroyed humanity." However, the search for "humanity" in the two novels released after the write-off tends to be somewhat hasty at the end of the novel. The question of human nature, sin and forgiveness, is the next best thing to save as a way of life, rather than as a result of the intense inner agony and behavior of the characters within the narrative, and this also shows a sudden shift in religiousness at the end of the novel. Therefore, the romantic meaning of the superficial is superficial.

• (The)Study of the Eastern Classic
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• no.37
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• pp.161-188
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• 2009

How did Japanese who surrender to Joseon reflect in old proses / Seo, Shin-hye This paper is focus on Japanese who surrender to Joseon. I researched how were these people to live through old novel, old tale and old biography. And I researched how these works reflected these people. Usually Japanese who surrender to Joseon were butchers. They were loyal to Joseon and their higher officer to a fare-thee-well. In old proses, writters compared these surrender with Joseon's general. People expect the general loyalty, but he didn't. Because of surrender's loyalty, Joseon's general was seen as an abject coward. This form came out in common in the biography of Gim Yeongcheol, the biography of Gang Hongrip and the biography of Gim Chungseon. But this fact was biased. All of Japanese surrender was not loyal, and they liked fighting in the battle. The singularity of the biography of the butcher who is Buddhist monk attracted our attention. In this work, we can see the surrender's mental conflict. We can realized the people is equal with Joseon's people.

• Journal of the Daesoon Academy of Sciences
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• v.40
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• pp.303-336
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• 2022

'Otherness' is a major philosophical concept in modern Western thought. It has been a force through which the concept of a subject's rights emerged. This paper focuses on Emmanuel Levinas' discussion of 'otherness.' Levinas emphasizes our ethical responsibility for others, which is meaningful in that it can be applied as a paradigm of communication for use in modern society. In the context of modern times and multicultural societies, it is important to recognize the diversity of others and to promote coexistence. Coexistence at this time should be 'unifying' rather than subject-centered. This paper attempts to understand this narrative. An epic is a cognitive process that constitutes the fundamental desires and experiences of humans. Humans try to project and understand themselves through narratives. The possibility of coexistence with others can be examined by analyzing otherness as found within those narratives. Therefore, this paper suggests the possibility and direction of coexistence by analyzing the storytelling that establishes relationships by shaping characters in Guillermo del Toro's film, Shape of Water.

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

• Journal of Korea Entertainment Industry Association
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• v.15 no.8
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• pp.161-180
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• 2021

The purpose of this study is to define Juan Mayorga's play Hamelin as a Post-Epic Theatre and to study the practical directing technique for Hamelin as a Post-Epic Theatre. Post-Epic Theatre, which appeared after the Post-drama, has the purpose of presenting social issues, communicating interactively between the actors and the audience, and making the audience think about the issues presented by the techniques of immersion and alienation. To this end, after examining the theoretical background of the Post-Epic Theatre, the characteristics of the Post-Epic Theatre of Hamelin were identified and based on these features, '1. Building a visual image based on a Cubistic multifocal concept' and '2. The concept of directing was derived from reinforcing Meta-drama through role-playing'. Next, the actual directing technique was discussed, focusing on the chain action of immersion and alienation that occurs in the form of communication between actors and audiences. '1. Presenting the characteristics of the work through Post-Epic Theatre scenography', '2. Co-existence of actors and characters', '3. Building and utilizing body-centered gestus' are them. As a result, demanding an active attitude from the audience, various experiences such as critical thinking of the audience, strengthening the characteristics of post-epic dramas, and active meaning creation were made possible.

• (The)Study of the Eastern Classic
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• no.34
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• pp.387-414
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• 2009

This paper seeks to provide an overview on the newly-discovered manuscript in gasa style. It is significant in that the entire in gasa style has not been seen before, although occasionally scripts incorporate sijo or gasa as inserted songs. The author of this manuscript is believed to be Bae Hyung (裵珩: ?-?), who lived in Daegachon, Yongdu-Myun, Sunchon-Gun in Jeonra-Namdo Province. It is estimated that the manuscript was written in April of King Gojong 37 years (year 1900). This , so-called the Yang Jee-Uk Collection Script, applies Samdan Pyunun Daewoo Method (三段片言對偶法), using Jongbae style (縱排法) to over 27 pagesof the book. The author seems to have collected the main scenes of and changed them into gasa style. It is also possible to postulate that the author might have simply divided the lines to make it resemble the existing gasa style, as the original was already in the form of lyrics. There are a few mistakes found in the manuscript. They seem to have been made while the author was recording the sung P'ansori, rather than while copying from a different manuscript.

• The Journal of the Korea Contents Association
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• v.20 no.8
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• pp.645-652
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• 2020

As the times change, the way of enjoying art and the needs of viewers are diversifying, and the filmization of novels that visualize existing works has become a popular genre across the ages. Therefore, this study was conducted with the aim of providing implications for movie works based on novel works by considering the filmization of novels. However, while there are successful works, works that have been filmized without properly understanding the artist's intention or narrative fail in the box office. In this study, focusing on Lim Woo-sung's . The film did not give a clear answer to the important contents of the novel, "The Violence of Young Hye," and what the meaning of "Flower" means to Young Hye. Because of this, Yeong-hye in the film was portrayed only as a victim of violence pursuing a blind artistic desire, but rather a sensational element. Therefore, it suggested that the filmization of novels is needed in the future to make films work as a medium that can add depth of enjoyment by utilizing the media characteristics of films.