• Review of Culture and Economy
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• v.20 no.1
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• pp.81-104
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• 2017

This study aims to examine the transformation of the heroic narrative in the successful Korean Wave drama. In this study, TV drama "Descendants of the Sun" which gained tremendous popularity at home and abroad was considered to be an example of the heroic narrative model proposed by Vogler. Further, two analysis points were identified as the critical factor of success: modern transformation and global transformation. Modern transformation is about distinct characteristics of Korea, found in three primary factors of the work: the setting up of a character, the development of events and the background set-up. Global transformation features universal value to attract foreign viewers by lowering cultural discount. In "Descendants of the Sun", humanism is considered to broaden the horizon of the work by affecting above three factors. In conclusion, It is the proper combination of these dual transformations that globalize Korean drama. In this regard, this study will be a meaningful attempt to shed light on the storytelling strategy of Korean dramas in terms of the heroic narrative.

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

• Cartoon and Animation Studies
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• s.44
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• pp.263-284
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• 2016

The transformation of plots using the archetypical narratives is not just a repetition of the past story, but finding a new suitable meaning for present time and society. Due to this, the story can be variated depending on what the transformation has the main point for. Disney's animation overcomes the narrative feature of the past classic fairy tale that worked only for particular age and people, and recognized as a contemporary story that can give impression to more various people. This study use Vladimir Propp's Morphology of the Folktale, Carl Gustav Jung's complexes and shadow theory to examine how this animation is modernly recreated by transforming the archetypical narrative. As a result, we can find characteristics of structure and function for contemporary story, and those also work with characters in the recreated animation. Through this study we discovered that Disney's animation is a transfiguration of archetypical narrative through the exhaustive analysis, and this could be the helpful research for the future creation of animation which uses the archetypical narratives.

• The Journal of the Korea Contents Association
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• v.15 no.1
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• pp.114-122
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• 2015

This study has a main purpose on discussing the issue how the construction of film narrative will be changed by audience's desire to intervene into film narrative through the active participation, out of watching a film passively in movie theater. Compared with the collective theatergoing experience in big screen was defined as the past cinematic identity, the absolute value of movie theater fragmented increasingly in the era of media diversification facing with digital media convergence. As this situation can be compared with "the author's death" Roland Barthes predicted on the mono-media of the book, thus, we are to take the time to discuss the new emerging 'movies'. The most important thing in this discussion is the aspect of the transformation of narrative in the future screening. Especially, while 3 act structure and configuration evoking a catharsis in film narrative are elements defining aspect of the past narrative, then, the future narrative in film will change to the structure interacting with audience actively. This paper had a discussion how could be possible the aucience interaction in only movie valuing the passive experientiality uniquely in screening over the other media through investigating the attempts of interactive cinema so far and the possibility of future.

• Journal of Popular Narrative
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• v.25 no.3
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• pp.103-141
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• 2019

The purpose of this paper is to examine the logic of choice, transformation, and exclusion in The Song of sword, comparing it with the historical records. This paper explains how a novel is 'produced'. Through this, it searches for the aspects in which The Song of sword changed into 'a narrative revealing the disillusionment of the novel's subject with the world'. In the logic of choice, it explores which time and space were chosen in the novel, and which character was chosen to prepare the content and formal framework of the novel. In the logic of transformation, it is confirmed that the meaning of 'individual' is highlighted in the novel, unlike the historical records, by transforming both the character of the enemy and the meaning of war. In the logic of exclusion, it studies the characteristics of the modern (novel's) subject in the novel by excluding the characteristics of the historical subject that existed in a particular time and space. This paper differs from previous studies in that it examines the way in which a novel is produced by comparing and analyzing The Song of sword based on the historical records. Through these analyses, we can see the unity of various heterogeneous elements, such as the historical reality, the writer's ideology and imagination, and the desire of the contemporary in the form of a novel. Also, by examining the elements of text that can not be sutured into a complete form, we can see the meaning of the novel's text as an unstable system.

• International journal of advanced smart convergence
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• v.13 no.2
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• pp.172-186
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• 2024

With the globalization of the film industry, ethnic minority films have been developed and studied by many scholars for their special ethnic representation. The film "Tharlo" directed by Pema Tseden carefully explores the identity anxiety of a Tibetan shepherd. Through the connection and separation between the protagonist and traditional culture, it shows a complexity of modern ethnic identity for minority people. This study explores what kind of cinematic techniques and symbolic elements the director uses to shape ordinary characters, build a narrative space, and show ethnic representation. This paper puts forward a theoretical framework combining cinematic quantitative methods with qualitative narrative and semiotic analysis, aiming to deepen our understanding of cinematic techniques and ethnic representation, and provides a new perspective and profound insights for discussing the complexity faced by ethnic minorities in contemporary films. This study finds that Tseden's "Tharlo" successfully portrays the complex transformation of Tibetan cultural identity in the context of globalization and modernization through cinematic techniques such as fixed camera positions, long take and black-and-white cinematography, combined with the use of symbolic elements like mirrors, lambs and identity cards.

• 기호학연구
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• no.54
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• pp.119-145
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• 2018

This paper attempts to divide the narrative into three levels and review the approach methodology to understand Princess Bari as a narrative. If the stratification of the narrative, the analysis of each levels, and the integrated approach to them are made, this can contribute to suggesting new directions and ways to understand and study Princess Bari. The story level of Princess Bari, the surface structure, is shaped by the space movement and the chronological sequential structure of the life task that started from the birth of the main character. This story shows how a woman who was denied her existence by her father as soon as she was born finds an ontological transformation and identities through a process. Especially, the journey of finding identity is mainly formed through the events that occur through the relationship with family members. This structure, which can be found in the narrative level, forms a deep structure with the oppositional paradigm of family members' conflict and reconciliation, life and death. The thought structure revealed in this story is the problem of life is the problem of family composition, and the problem of death is also the same. In response to how to look at the unified world of coexistence of life and death, this tradition group of myths makes a relationship with man and God. This story is mainly communicated in the Korean shamanistic ritual(Gut) that sent the dead to the afterlife. Although the shaman is the sender and the participants in the ritual are the receivers, the story is well known a message that does not have new information repeated in certain situations. In gut, the patrons and participants do not simply accept the narrative as a message, but accept themselves as codes for reconstructing their lives and behavior through autocommunication. By accepting the characters and events of as a homeomorphism relationship with their lives, people accept the everyday life as an integrated view of life and death, disjunction and communication, conflict and reconciliation, and the present viewpoint. It can not change the real world, but it changes the attitude of 'I' about life. And it is a change and transformation that can be achieved through personal communication like the transformation of Princess Bari into god in myth. Thus, Princess Bari shows that each meaning and function in the story level, composition level, and communication level is related to each other. In addition, the structure revealed by this narrative on three levels is also effective in revealing the collective consciousness and cultural system of the transmission group.

• 기호학연구
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• no.56
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• pp.109-136
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• 2018

The purpose of this study is to examine the narrative correlation of nonverbal signs found in Charade. Charade, by using nonverbal signs, provides information about the character's psychological change, his or her relationship with others, and the places where they stay. The study of Charade, then, has to be approached considering not only the transmission of messages through nonverbal signs but also its signification. This study has analyzed the narrative and formation process of the subject that triggers the subject's activity by taking narrative semiotics to the film Carol (2015). As the status of women is represented by the mise-en-$sc{\grave{e}}ne$ at this time, this study aims to examine such a fact through Charade, which belongs to the realm of mise-en-$sc{\grave{e}}ne$. In this study, nonverbal signs that are used in Charade are drawn based on the nonverbal communication theory. The result of analyzing the texts showed that the use of interior decoration was outstanding in the process of expressing the status of female subjects. The use of gaze was noticeable in the process of expressing the acquisition of female subjects' power. Besides, it should be noted that the use of nonverbal signs such as accessories, territoriality, or gesture, was worthy of attention. It was confirmed that such nonverbal signs play an important role in the formation of subjects and configuration of narrative transformation.

• Journal of Korea Multimedia Society
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• v.18 no.3
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• pp.419-428
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• 2015

Stone is a hybrid genre movie in which two different film genres coexist; one is a gangster movie, the other Baduk movie. This film deals with a relationship between an old gangster boss and a young Baduk player. The coexistence of two different worlds becomes a reason for a unique ambiance of this film, because Stone is dynamic and brutal as much as static and meditative. Firstly, this article aims to analyze the narrative structure and characters of this film comparing with conventions of gangster movie genre, especially 'jopok film' of Korean cinema. Secondly, we examine characters of this film and their relationship. Since the economic crisis under the IMF structure, a great part of korean gangster movie has represented the weakness of the fatherhood and the disorganization of family. However, in Stone, the friendship between two heroes, Namhae and Minsu, turns to a father-son relationship. In this way, Stone transformed conventions of film genre.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.223-261
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• 2019

This article is a reexamination of the feminist criminal narrative I wish for what is forbidden by Yang Gui-ja in the context of the rise of the women's movement and consumer culture of the middle class in Gangnam in the 1980s and 1990s. At this time, the explosive media culture served to strengthen the ideology that placed the middle-class family at the center as well as the consumption culture. The combination of consumer media culture, women's movement and democratization created a soft and domestic male image while visualizing the material foundation of the middle class in the 1990s of South Korea. In this novel, the domestic male image transforms the feminist criminal narrative into the narrative of the femme fatale attacking the stability and dignity of the middle class family, and at the moment of the transformation, the feminist woman Kang Min-ju is killed by a lower class man who has admired and loved her. This novel is not only current but also signifying as a text that overlaps sociocultural reproduction and feminist issues of the middle class based on Gangnam in the 1990s. This is because it shows the sociocultural context of femicide, such as serial murder of targeting women, as a core code of criminal narrative to be held in Korea since the late 1990s.