• Journal of Korean Classical Literature and Education
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• no.39
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• pp.137-180
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• 2018

This article examines the constitutional characteristics of the works in the "Shinbi Apartment" (Mysterious Apartment) series produced by Tooniverse, a domestic animation channel, and considers the meaning of the contents of the ghoststory (鬼神談). The "Shinbi Apartment" series is a horror animation for children. It was produced for the first time in Korea and recorded high ratings. Additionally, it is different from Japanese horror animations that were dubbed and broadcast in Korea in terms of composition and narrative direction, and it succeeds in the form and direction of the traditional Korean ghost story. "Shinbi Apartment - The Secret of Ghost Ball" enriches narrative stories by embracing the structure of the "female ghost story" in traditional ghost stories while following the form of ghosts that suddenly pop up in the daily routines of contemporary ghost stories. The ghost's shape, which has a bizarre and unpredictable aspect, embodies the ghost as the object of fear that modern horror stories intend. However, it does not stop there, but puts the attention on the hero who focuses on the emerging ghost and listens and communicates with it, placing the emphasis of the story on communication, understanding, forgiveness, and reconciliation. The structure and contents of the unique story of "The Secret of Ghost Ball" contribute to the transformation of the ghost into a subject of friendliness and entertainment, not merely as one of shock, fear, and anxiety. Additionally, as the concept of "child" is being created, the custom of modernity, which deals with the story of ghosts in the dimension of teaching and edification, is also manifested in "The Secret of Ghost Ball." In other words, through the figure of the devil, it is to continue the lesson of the story by revealing the adventure, the courage necessary for the "child," and the boundaries for substance and appearance. The "Shinbi Apartment" series has also contributed to the success of ghosts as commercial contents. The structure of the story and its characters have been actively used as educational tools and toys for children. It can be said that ghost culture contributed to this popularization by establishing a base for enjoying ghosts for amusement and entertainment.

• The Journal of the Korea Contents Association
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• v.7 no.8
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• pp.152-162
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• 2007

Subject of this Study is focused on set design for short animation, GHOST, made and presented by animation studio, BEYOND PROSCENIUM. Sets in animation have several functions. First, sets are a playground that character can play to lead a story. Second, sets explain background, which is time and space. Third, sets can visualize metaphorical meaning or symbolic system in animation. To obtain final design that is sufficient to those functions, this study analyzes the case that metaphorical and symbolic meaning from scenario is how to apply into set design also, mentions the method that designer multiply considers character, property and composition from the camera and movement from those elements. Set designers for animation should have ability that simultaneously considers so many elements and they need design skills to create it.

• Cartoon and Animation Studies
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• s.42
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• pp.1-24
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• 2016

The 'fear' in animation has a couple of problems to apply the criteria for identical genre as in movie or literature. First, the mutilation and destruction of one's body and the appearance of monsters and ghosts are not a normal way of expression and could not apply to one genre. Second, the cause of fear comes from the subject of fear which is a reality that is something 'unrealistic' and 'special' and is approachable. This is all possible in a three dimensional world, but animation is not founded on realism. According to this logic, the horror genre in animation or the esthetic experience of animation is not possible. However, many of the powerful images you can see from the horror genre are all created from animation. Therefore, many writers are drawn to the horror in animation and tried to express in many different ways. This study will include the general idea of fear which drives the audience to the felling of fear and terror but we will mainly focus on the three types of fear - ghost story, cannibalism, and madness - and discover the meaning of fear used in animation. Through this process, we anticipate that fear in animation is not just for pure amusement, but will be able to investigate the meaning of fear philosophically even if the hidden side of reality is terrifying.

• (The)Study of the Eastern Classic
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• no.68
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• pp.439-472
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• 2017

The purpose of this paper is to confirm how traditional legends are changing and existing in modern times, and how they are inheriting and developing legendary values and meanings. The subject of the study is uncanny stories concerning army that is judged to be worthwhile alongside uncanny stories concerning school. The uncanny stories concerning army are urban legends that are active in the internet. It can be defined as 'a narrative story that raises fear with supernatural and strange experiences in the army'. In addition to the internet community sites, humor sites and game sites are actively handed down. Recently, ghost stories have appeared on the site, and uncanny stories concerning army are easily collected from these various sites. The uncanny stories concerning army can be divided into three types: ghost experience type, Bulgogi GP type, mystery radio type. The ghost experience type has the largest number of version, the contents are rich and varied. It does not deviate much from the traditional notion of ghosts. Bulgogi GP type has a frenzied horror from its name. It is related to actual events and raises horror. Mystery radio type is a romantic material used in movies and dramas. However, unlike movies and dramas, uncanny stories concerning army are perceived as fearsome. The uncanny stories concerning army continues to emphasize that the story is actually experienced in the title and content. It has presented concrete evidence. The emphasis on truthfulness is intended to make fear more realistic. This comes from the desire for safety. Uncanny stories concerning army focus on horror. So It tries to reveal the history and truthfulness of the story itself. As a result, the history of reality, the truth of reality, and the realistic ideology are erased. Historical and truthfulness of traditional legends has been varied in the case of uncanny stories concerning army.

• Korean Journal of Heritage: History & Science
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• v.33
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• pp.290-307
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• 2000

This thesis is written to point out the fact that story-teller has to be also appointed to intangible cultural treasure. For this, I compared the birth tales of king keum-wha and al-yeung with ghene-gid-dang dangshin(house-ghost) Bonpuri in Che-ju Island and the place name yeun-gi tale in Yong-ghe-won, Whan-ju gun, Cholla-buk-do. And, I examined that the latter oral narratives are very useful to interpret the meaning of the former documents. Besides, using the In-ju tale(人柱傳說), I clarified that Oral narratives reflect the Korean people's consciousness structure. Through all these, I elucidate oral narratives have the value as cultural treasure. Consequently, I maintain the professional story-tellers have to be appointed to intangible cultural treasure.

• Cartoon and Animation Studies
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• s.49
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• pp.299-323
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• 2017

Interests to cultural prototype as a material of cultural contents are getting more increasing nowadays. One of them is myth. The important thing when you are dealing with the myth as the material that how to convert prototype narratives. Today, digital culture is becoming one of the essential elements of mankind, that is a new sociocultural phenomenon and distinguishing differentiation from the past analogue era. In this regard, the combination of mythology and digital culture is effective strategies for transforming storytelling that can resonate with people who are not familiar with myths. puts the view both of this world and underworld, mythical characters, and various elements of the Grim Reaper into the story. And combines them with digital elements. sets the world that the transcendental soul exists as physically transferred data form. and reinterprets the traditional mythology world into the digitally operated world. Soul-Phone from this anime reflects the digital culture such as storage and transmission, and helps enjoying audiences accept the unfamiliar world of myth. And also It symbolically shows dystopian viewpoints through side effects can caused by digital technology development, such as the instrumentalization of human being, the risk of communication through digital media, and ego-loss caused by duplication, etc. In conclusion, forms a consensus with the audience through the transformation strategy of storytelling that converts the world of myth into the digital world. And it reflects the dystopian view and shows a differentiated world view from the narrative of myth.

• Journal of the Korea Fashion and Costume Design Association
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• v.15 no.3
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• pp.157-166
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• 2013

Features of the Occult Culture is preferred that powers, demons, magic, magical, unreal etc. Currently Occultism is getting a lot of attention to the public in the society, culture, arts and the play. Fashion in the period that includes all circumstances is a field. Thus, the current Occultism and modern fashion will also be related. Objective of the study is to figure out the form and meaning of Occultism in Contemporary Fashion. An example of the best of contemporary trends is the mass media, For this reason, Occultism symptoms range of case studies mess media(television programs and film). Research on contemporary fashion range was used 2000-2013 fashion collection extracted from the data. Represented in the mess media features of occultism is 'Witchcraft and Sorcery' and 'Death and Horror'. They are story of wizard exorcism and unnatural horror. In the 21st century, modern people are enjoying occultism, and occultism is the one of the entertainment. Expressed in contemporary fashion features of occultism is 'Super-human organism', that is out of the human body, ignoring body shape and type of transformed organism. Second distinction is 'Ghost', they are something like the dark and dismal, shape of ghosts and look pale. Third distinction is 'Neo-Macabre', it is the shape of the skeleton. Skeleton symbolizing the end of life, skeleton to express Occultism has emerged as the most representative motifs in the 21st century fashion. Occultism expressed in fashion is a gothic fantasy, because the fashion can be expressed. In addition, people in modern society wants to be against the norms and taboos. The trend Occult-culture is a symbol of the public's desires and needs.

• Journal of Korea Game Society
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• v.22 no.1
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• pp.119-128
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• 2022

According to Gestalt theories of perception, this paper studies Japanese-style character design combined with ghost culture. This article sorts out the character design elements of the Japanese mobile game "Onmyoji" in China, and then analyzes the design from the perspective of psychology through Gestalt theories. The form is felt through the systematization of the whole rather than the parts, confirming whether the small design elements of the character can be perceived as the whole story.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.133-185
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• 2021

This study is an attempt to connect television drama M, which deals with abortion issues, with theoretical focus such as materiality, relativity, and agency, to understand diffractively as an cartography of agential reality. According to Karen Barard's Agential Realism, Television drama M is a sociocultural phenomenon produced by the agential intra-actions of material-discursive apparatuses such as medical technology, ghost stories and legends, and male-affect. The 1990s repeatedly revealed "hate" through apparatuses such as technology, discourse, and affect, which are directed at women's gendered bodies. The material -discursive practice of plastic surgery and abortion proves that the agential reality surrounding the body is closely intertwined with medical technology, as well as with the genderized hate. Another related material-discursive phenomenon is rediscovery of the legend and fad of the ghost story, which is also produced from the hate of the denaturalized body, which is once again expanded and reproduced. Appearing in this environment of affect, M enacts diffraction, which is based on backlash, lacking posthuman implications for the materialization of the techno-body. M puts humanistic assumptions about "Man" as a universal definition, historically framed and defined in context. But it is not universal and it is gendered. The current time when the political turmoil surrounding medical technology, discourse, and bodily matters is violently intra-acted is the time to carefully account and respond to the alternative definitions of human beings that M has rejected.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.231-242
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• 2019

(2014) directed by British-born second generation Iranian-American Ana Lily Amirpour, set in 'the Iranian ghost-town Bad City' attempts to make how the hybridization of multi-cultures makes interesting interpretations culture-politically, presenting a female vampire skateboarding in a striped t-shirt and a black chador. In traditional horror films, mainly male-Dracula was the center of the vampire narrative as other, but since the post-modernism era, vampire films try to shift women from the passive and dependent victim to the subjective and independent main agent. And the main character of the film, 'The Girl' who is a female Muslim vampire takes a step forward to punish men who commit gender violence. Shot in black and white, the film puts images ahead of narrative, while featuring Iranian actors, speaking Farsi. Furthermore, the film crosses over Iranian politics into American-European pop cultures with this eclectic mix of Iran's rock, British electro-pop and Ennio-Morricone-like western stylings. This study focuses on the style featured in which has successfully transformed and transplanted a vampire story into a critical contemporary discourse, mixing multiple genres and citing cultural trends while not following the traditional conventions of vampire films.