• Journal of Korea Multimedia Society
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• v.22 no.8
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• pp.974-982
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• 2019

Contemporary narrative and documentary share across boundaries between the 'actuality' and the 'creative treatment.' The documentary has blended modes of representation from various genre to reflect the world changing. The narrative movies also has applied the historicality of 'evidence' and 'documents' from documentary to obtain the new form of realism. Boyhood shows a differentiated realism to retain both the narrative structure and the documentary temporality, containing 12 years of timeline with the limited artificial space time. Boyhood also takes the analogical concept of 'the dramatization of the actual materials' from the early documentary films.

• The Journal of the Korea Contents Association
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• v.14 no.4
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• pp.67-77
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• 2014

This study focuses on clarifying narrative strategy of the epilogue system of TV nature documentary. TV nature documentary epilogue system is different from making film. Because it has stories about production team's daily life and incidents while they make films in nature. Therefore, TV documentary epilogue system has distinctive narrative features comparing to the documentary itself. This study analyzes into the distinctive narrative features of TV documentary epilogue system. According to Frye, there are four types of narrative based on narrative structure. 'The tears of Antarctica' has achieved reconciliation between nature and human by it's narrative structure of comic romance and comic character. Therefore, comic romance's narrative features of TV documentary epilogue system overcomes tragic features of the documentary itself.

• The Journal of the Korea Contents Association
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• v.17 no.3
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• pp.523-531
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• 2017

This paper tried to study how the narrative to allow the audience to emotionally immerse in documentary using virtual reality platform has shown. For this purpose, it defined the VR documentary as contents what make creative approach and rebuild reality using VR media platform, and analyzed it by comparison with narrative of existing documentary. First, the contents like succeeding journey documentary use mainly virtual realty as experience of accessibility. However the contents that have purpose to experience other people's reality show from self-narrative of first person documentary to interactive storytelling of web interactive documentary. The case of interactive VR documentary is taking a step forward from web documentary and shows easy way to reach internal purpose of documentary as making experience with virtual self. The VR documentary has a lot of possibility as virtual space experience to give accessibility and virtual self.

• The Journal of the Korea Contents Association
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• v.19 no.11
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• pp.516-526
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• 2019

As with all narrative forms based on media, the narrative method of TV human documentary is closely related to the change of broadcasting environment. In 2017, the world's first terrestrial UHD broadcast was launched in Korea, and in September of that year, KBS broadcasted the UHD special documentary series. , made of UHD capable of ultra-high definition video and immersive audio, showed a narrative approach completely different from the existing TV human documentary. Instead of all-out narration, which was considered an essential element in the TV human documentary, it used the modest first-person narration of the characters, while actively using drones capable of various compositions to express the psychology of the characters in detail and enable viewers' immersion. In addition, the Montage editing technique, an editing method that has not been attempted in TV human documentaries, utilizes the narrative development method of 'showing' as a video without 'explaining' with narration. After , many similar narrative documentaries are broadcast, and the flow and direction of TV human documentaries are changing under UHD broadcasting environment.

• 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.

• Journal of Digital Convergence
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• v.17 no.1
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• pp.337-345
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• 2019

In this study, it focused on observational documentary based on observation. This study comparatively analyzed how differently the narrative style is implemented depending on the social and cultural background of East and West by analyzing the narrative style of Frederick Wiseman, a representative director of observational documentary who has been active in foreign countries for a long time, and Lee Seung-jun, recently become active in Korea. As a result of the analysis, It might be too early to judge by simple comparison of two directors, but it became an opportunity to see the difference between the long-standing observer style and the observer style documentary which actively accepts the new form. While it cannot be simply judged which style is better between the traditional observer style which shapes the simple contents into conflicts in the sequence structure and the recent style which sublimates the human inner conflict into the drama, a side could have been seen that the diversity is attained. It can be judged that the traditional documentary film can be gradually changed later. It was found that the documentary can emerge from the logic that it is difficult and boring, and that the same theme can be various and creative depending on what style is chosen.

• Cartoon and Animation Studies
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• s.27
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• pp.199-219
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• 2012

An innovative narrative film-making always came out of conflict and negotiation between reality and film form. A lesson we learn from their film-making is a certain reality is no more possible to be dealt with by conventional narrative. A dialectic between a real life and a representation drives a certain film-makers to make films. Kore-eda Hirokazu is internationally known as developing his own method of meshing of so-called real life and the artifice of film. As He began his career as a documentary film-maker, made several documentaries for TV and then turned to his feature film-making, documentary film-making defines the basic stance in all of his film-making. He in particular emphasized that he considered the fundamental ethical standpoint of documentary to be filming from the standpoint that one does not - or cannot - know the person one is filming. And therefore even in his fiction films he avoids subjective cinematic structures that offer easy access to the internal states of his characters. He makes his audience observe the internal states of his characters from the outside with his narrative strategy. This article will analyse two documentary films of Koreeda Hirokazu in such a way that his documentaries meshes a real life and the artifice of film and then explores such a fiction film like that changes its documentary methods into narrative strategy for the same effect on the audience.

• The Korean Journal of Archival Studies
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• no.65
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• pp.227-251
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• 2020

The documentation of a city can never be complete with only the documentation of the administrative domain, and requires that of its citizens, who are living in the city in different ways. This study attempts to present the documentation of the memories of the citizens, which either have never been produced or have been damaged and thus are difficult to be collected. From the Archival Activist point of view, this study suggests documentary as its research method, in order to leave trace of various experiences of Seoul, which are not recorded in document but are rooted in its people's memories and their daily lives. Documentaries are characterized by their narrative. This can be somewhat arbitrary, but it is due to their narrative that this study suggests documentaries, rather than oral statements, as a new form of method. While, due to its self-historicality, oral records are subject to producing redundant or irrelevant memories, documentaries enable the documentation of data relevant to the topic of collection. First, the study presents the narrative-based archiving, which is the same method of collection suggested by Seoul Metropolitan Archives, and then explores the role and significance of documentary archiving. It further presents the conditions in which documentary archiving is required in the context of narrative-based collection. The study presents the planning and implementation of documentary archiving and introduces one of the three documentaries produced by 2019 Seoul Archiving Project.

• The Journal of the Korea Contents Association
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• v.17 no.7
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• pp.79-92
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• 2017

This study analyzed the TV documentary titled on early childhood English education through narrative structure analysis (Chatman, 2003). It performed syntagmatic analysis to clarify the story structure with a focus on the development of events, and paradigmatic analysis to understand the semantic structure hidden in the text by binary opposition analysis. The documentary was constructed in the frame of 'balance-confusion-rebalance', and it was explicitly delivered that the English immersion education prohibited in the private elementary schools has stimulated the market of private English education. However, the government's and students' voices were missing, and the group of parents, private elementary school officials, and people involved in private English institutes played as main agents to lead the discourse of English immersion and early childhood English education in the documentary.

• The Journal of the Korea Contents Association
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• v.21 no.10
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• pp.332-343
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• 2021

This study shows that reality in interactive documentaries can be distinguished between narrative reality and visual reality, which can be defined as a feature of reality-based interactive documentaries. This study reveals the visual reality in that all audiences who visually watched "The Maribor Uprisings" were immersed in the movie presented by the producer, and thus sympathized with the problems of non-violent protests and social conflicts through two-way communication between the audience and the actors. This study also confirms that epic reality in that it can selectively participate in the narrative of movies through questions about democracy in action. Besides, this study finds that the reality expressed in the interactive documentary deepens the audience's 'immersion', showing that the direction of the narrative can be determined by reflecting the opinions of the audience on an event or narrative of the movie. In this process, the audience was found to have the characteristics of being able to recognize and rediscover events in the movie as if they were close to them.