• Korean journal of communication and information
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• v.68
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• pp.87-129
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• 2014

This paper addresses questions on the marginalized position of youths of 'Gangbuk' and elucidates how they construct their own identities in the individual trajectories of everyday life. Three years of research, including participatory observation and in-depth interviews, was conducted on nine students from Northeastern district of Seoul. The research also adopted reflexive photography interview method in order to encourage the informants to actively participate in the research. The result illustrates the diversity of the everyday life experiences. More 'marginalized' youths from middle to lower class background had to endure the burdens of their daily lives without programs. Still, they were elaborating their own cultural taste and positive self-narratives at the periphery of the mainstream culture, by practicing music, online community activities and bodily performances. They had to negotiate the crucial turn of life after their graduation, when they entered into the harsh social competition with limited resources. We observed how they gradually assimilate the identity of the 'working youth', some of them developing a positive valorization of their experiences labor. Findings underline the active role of the cultural practices in the making of class identity of the youth and the necessity of researches situating the making of class identity and the reproduction of the class for the youth in the larger geography of class culture in the contemporary Korean society. Lastly, it is argued that these youths should not be considered as determined subjects, who reproduce already established class identities, but as active agents of their lives who deserve more respects and attentions from the society.

• The Journal of the Korea Contents Association
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• v.7 no.4
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• pp.241-249
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• 2007

This article addresses considerations, processes of drawing concepts and design approaches in compiling a corporate brochure set in the practice of editorial design. A well-made brochure does not simply refer to listings of the current state of a company and a fantastic visualization of their visions. It necessarily involves the utilization of strategic core keywords appropriate to the industry, proper and classy metaphors that fit the target, a certain harmony between direct and indirect narratives, and bringing all of these aspects under the hat of creative and purposeful design in a single brochure. Thus, it also calls for variety and changes to captivate the eye when leafing through brochures. 1. Does the brochure reflect accurate diagnoses on the position of the market environment, the industry and their needs? 2. Does it offer solutions to given tasks, does it claim to be able to solve problems a company may have, does it satisfy their expectations, and does it cover the topics in an in-depth manner? 3. Referring to questions 1 & 2, does it address existing cases of competitors, leading players and global trends? 4. Does it have an appropriate design language that can communicate intrinsic issues and global trends as well as appropriate rhetorical visual aids that stand out?

• Cartoon and Animation Studies
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• s.30
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• pp.245-262
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• 2013

This paper analyzes three feature films that are based on Brothers Grimm's "Snow White": Disney's Snow White and the Seven Dwarfs (1937), Tarsem Singh's Mirror Mirror (2012), and Rupert Sanders' Snow White and the Huntsman (2012). Disney's animation, not the original literature, is the archetype of the later films. Grimm's fairy tail does not include the kiss of Prince Charming that saved Snow White which is, in fact, borrowed from "Sleeping Beauty", nor Snow White's rapport with animals. In Snow White and the Huntsman 's case, the costume of protagonist is similar with Disney's film and some shots are almost identical with Disney's version in terms of composition and angles. Nevertheless, these films show their originality with markedly different visual styles. Mirror Mirror and Snow White and the Huntsman have achieved reasonable success at the box office despite of relatively simple and predictable narratives due to the power of spectacle. While Disney's Snow White displays the model of witch that later becomes prototype of many movies, Mirror Mirror represents the unique magical world, a trompe-l'oell that can only done by director Tarsem, and Snow White and the Huntsman successfully visualizes Freudian concept of 'the uncanny' itself.

• The Journal of the Korea Contents Association
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• v.16 no.9
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• pp.779-790
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• 2016

This study is to exhibit the iconographic narrative and visual culture of ancient Chinese art. The focus of the study is the composite integration of literature and graphic forms, in particular the heterochronous expression of different scenarios of scenes occurring in different time periods in pictures of ancient art. The unity of their origins with picture narration and comic art creation is the fusion of our modern times. The ancient Chinese understanding of visual art includes the traditional style of images and their symbolic meanings. Among artistic narrative expression, imagery contemplation and visual presentation have significance. Artistic thinking is inseparable from visual articulation. It is a rational thought process through creative language interpretation in visual media of imagery narratives. The characteristics of ancient imagery thinking and the way of presenting sequential incidents in the form pictures is a creative space of time. This is the spatial thinking of modern comic art, which is demonstrated through acceptance in artistic styles. Image narration needs new forms and media styles, including integrating with cultural values as aesthetic communication is necessary.

• The Journal of the Korea Contents Association
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• v.16 no.9
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• pp.679-693
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• 2016

The purposes of this study were to examine the patterns of recalling memories in the series and look into the desires of viewers disclosed in the process. Entering the 2010s, people got to recall their memories from the 1980s and 1990s. Nostalgia and retro became cultural products. What made the series, those depict the pure love, friendship, and family affection of main characters under age in those decades, so popular among the viewers? Finding a repeating pattern in recollection of the past, dating, and family love, the investigator saw that the pattern met the needs of viewers and thus analyzed their desires inherent in the series with a focus on its "narratives" and "characters." Their unique sounds effect and music established a micro-narrative that could be divided, thus allowing viewers to own certain scenes easily, which worked to make "non-existent" memories. Secondly, the series succeeded in capturing the desire of viewers living in the age of neoliberalism to reduce their fatigue from excessive choices by setting the characters in a contrived way and thus presenting the desire of maintaining the stable middle class world with no conflicts and the passive female characters. The recollections provided by the series, in the end, fill the desire and deficiency of the present beyond a simple return to the past.

• Korean Journal of Social Welfare
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• v.54
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• pp.99-121
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• 2003

The purpose of this study is to explore the process that youths get involved in delinquent behavior after runaway. The experiences of runaway youths are studied interpretively, so that interactive features between situations and the youths are revealed. In this way, it is expected that directions in social services to prevent and intervene with delinquent behaviors of runaway youths can be suggested. Eleven youths who have experienced running-away participated in the in-depth interviews. Their narratives are interpreted through the procedures of interpretive interactionism by Denzin(1989). Five phases of the delinquency process have been discovered: Using personal resources, getting help from new relationships, exploring alternatives to survive, learning delinquent way of living, and living independently through delinquency. Interpreted contextually, it has been founded that delinquency is a behavior to survive and a developmental process on the street, taking place in a situation of blocked communication, nevertheless within people's networks. Thus, it is suggested that the problem of runaways are not to be treated narrowly as responsibilities of the youths themselves or their families, but to be approached from the viewpoint of providing social service systems that work as a safety network and offer alternatives for the youths to survive, to resolve their troubles, and to keep healthy lives.

• The Journal of the Korea Contents Association
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• v.11 no.1
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• pp.134-144
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• 2011

Crossmedia Storytelling is receiving attention as a new style of description in the age of limitless competition and infinite fusion among media. Crossmedia Storytelling specifies a form of storytelling carried out through mixed usage of plural media, such as televisions, movies, and web services. It is different from OSMU strategy in that plays one source of contents according to the characteristics of various media while Crossmedia Storytelling demands users' active participation. Moreover, it is also slightly different from Transmedia Storytelling in the point that narratives of each media are not complete themselves and only through effectively combining plural media can the whole story fully enjoyed. This research aims to analyze how users move among media in terms of Crossmedia contents by examining cases of Swedish interactive drama series , from Australia, and from the United States. To do so, first, the paper looks into the principles of Crossmedia communication and examines that it is based on online word-of-mouth communication, such as viral marketing. As a result, the following was found in the cases of Crossmedia Storytelling: negative stories that arouse users' emotional reactions & users' participation are effective, and the set-up of Sneezer, which causes the knowledge gap, is very important. It was also found that users' participation was actively taking place through online WOM communication in Crossmedia Storytelling.

• Journal of The Korean Association For Science Education
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• v.33 no.4
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• pp.807-825
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• 2013

This study investigated two science teachers' practical knowledge shaped during their science classes which intend to realize social construction of scientific models. The teachers' practical knowledge was qualitatively examined in terms of five content categories defined by Elbaz through the reflection-in-action based on video data of their teaching as well as the reflection-on-action based on their narratives and interview data obtained after their classes. The results shows: 1) two science teachers implemented their practical knowledge on appropriate subject matter knowledge when they provided students with scaffoldings to support building scientific models during the classes. 2) The teachers' knowledge about science curriculum played important roles to change the purposes of the classes from the transmission of difficult science concepts to the construction of scientific model appropriate to learning goals. 3) The teachers' implementation of pedagogical knowledge changed toward supporting students' group activities and model generations aligned to the intention of social construction of scientific models. 4) The teachers' practical knowledge about their 'selves' showed that a teacher's perception and implementation of his/her roles of helper, guide, or facilitator are important for students to construct scientific models through group activities. 5) The two teachers' practical knowledge the milieu of schooling is realized by their modes of interactions with student groups during their classes. Two teachers acted like a co-player with his students or like a coach to students near a playground. We discussed domain-specific characteristics about scientific model construction.

• Journal of Korea Game Society
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• v.11 no.1
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• pp.3-14
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• 2011

Nowadays, it becomes a widespread and frequent practice that one content as a source is converted into diverse media formats. However, it is hard to answer the question whether the converted content might become successful again. That is mainly because one needs to have clear understanding about the characteristics of the target media format. This explains the phenomenon that there are very few successful movies which have been adapted from successful digital games. Thus, it is essential to conduct thorough and sufficient researches on the success factors of the adapted movies. The objective of this research is to investigate and analyze common factors of successful movies from digital games in terms of their visuals and narratives. We have found that successfully adapted movies from digital games shares three commonalities in the work of adaptation for effective cinematic impacts. Firstly, the adaptors of the successful movies have composed scripts with riveting storytelling through simplification, compression and removal of the original story. Secondly, they have satisfactorily re-implemented the original game avatars in the process of adaptation. Finally, they have effectively discovered inherent attractiveness of the original games and incorporated into the target movies with faithful following of cinematic grammar. We expect that our work contribute to reduce failure rate of the prospective movies converted from games by the proposed analysis of success factors shared among successfully adapted movies through the proposed case studies.

• The Journal of the Korea Contents Association
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• v.16 no.1
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• pp.107-120
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• 2016

The purpose of this study was to analyze representations of fatherhood of childcare entertainment reality programs. For this purpose, two episodes of of MBC were analyzed by semiotic analytic methods, especially, signs, images, combined level of significations, etc. The results indicated that fathers of the programs reflected modern ideal images of feminist fatherhood in which fathers cooperated to care children with mothers, and played the role of intimate friend-daddies, daddies as friends. A post-modern male ideology was inherent in those fatherhood changes. Those fathers in this program intermittently exposed narratives of inexperienced fathers while dedicating themselves to cooperative childcare adequate to the purpose of the program, suggesting that it would reproduce the mother-childcare ideology as a result. Furthermore, although such reflected changes towards fatherhood enthusiastically involving in childcare represented the modern ideal fatherhood, it is still identified that gender stereotypes, gender-based discrimination and patriarchal male ideologies were inherent in the ways of their guiding children. In short, such trend of friend-daddies did not imply an revolutional change from male-centered patriarchal family structures to male-female cooperated family structures.