• Cartoon and Animation Studies
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• s.22
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• pp.17-30
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• 2011

This paper analyzes Blood: the Last Vampire (2009) in comparison with the original Blood: the Last Vampire (2000). This digital movie, released in 2009, faithfully re-presents the visual of the original animation using more budget and more developed technology. Though these two movies share very similar visual style, they have slightly different modes of expression that can be easily detected in their opening scenes. The original Blood chooses to tell its story in more indirect way. Some shots are intentionally vague and forcefully separated by black credit screen, leaving audience guessing exactly what happened. The remake version of Blood provides faster, more diverse, and more sophisticated images. It also uses invisible and slick editing, leaving no room to guess. These differences comes mainly from the difference of media. However, since the differences between two movies lie mainly in their narratives, we can ascribe the box office slump of the digital movie version of Blood: the Last Vampire to its narrative flaws. The heroin's inner conflicts were not convincing enough, supporting roles were not probable enough, and the whole story was not unique enough. As a result, the new Blood: the Last Vampire became another bad example that shows the importance of narrative in films.

• Cartoon and Animation Studies
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• s.32
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• pp.263-288
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• 2013

This research is about effects which frontal-flat cameras have on narrative films. This kind of confined camera angles make the audience have a sense of tension which is barely defined logically. I think the tension comes from aleatorism. The paper is a research on how aleatorism is working on what kind of value, and what kind of effects it has on narrative films. Russian Formalism had argued they had to meet aesthetic values by totally excluding narratives. It can be said that this was a practice for Brecht's estrangement that a sensitive arousal prohibits the audience immersing into excessive empathy and then make them have a reflective thought. But occasionally, optical arousals in narrative films induce deeper immersion into contemplation rather than reflective thought. I intend to find cases regarding this textualising Front-flat camera angles in narrative films and analysing their contents. To do this, I suggest a more specified definition of 'aleatorism'. Because the concept of the aleatorism is different between an aspect of static image like paintings or photographs and narrative contents like cinema. It is divided into approach through form and approach through content. And I also suggest an operative definition about 'Frontal-flat camera angle' with a several confinements because its formal definition is very flexible depending on audience. The case analysis will be done with a form of discourse discerning two aspects of form and content. Conclusively, Frontal-flat camera angle in narrative film is basically have an effect of attention by optical stimuli. But it cannot be said that this always means deterioration of narrative value. Depending on causality of episodes in the whole story, aleatorism which Frontal-flat camera angle has can support immersed contemplation regarding following narrative rather than reflective thought regarding amusing aesthetics.

• Cartoon and Animation Studies
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• s.48
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• pp.249-269
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• 2017

Promotion and marketing, which are essential to lower the investment risk and maximize commercial profit in the video game market. Game developers and publishers set up public relations strategies to encourage potential consumers' needs. Considering characteristics of video game, the trailer, which is the animated image advertisement material, could occupy a key position in its promotion and marketing plan. Cinematic spectacles and attractive narratives are essential ingredients for game trailers, which are usually produced in 3D animation. Dead Island is an open world first person shooters (FPS) game released in 2011. When launched, it grabbed a great attention with a trailer, awarded the Golden Lion Prize for the best internet film at the Cannes Lions International Festival of Creativity. The game was a commercial success and several spin-offs were producted. In 2014, its publisher, Deep Silver showed the official trailer of Dead Island 2 at Electronic Entertainment Expo, the world's largest game show. Dead Island 2 was scheduled to be released in 2016, but has been now delayed until 2018. This study compares and analyzes two trailers of Dead Island 1 and Dead Island 2. We examine the narrative structure of the trailer for the sequel promotion of a successful game. The differences between the two could be useful for building a promotion strategy of other game series.

• Cartoon and Animation Studies
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• s.45
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• pp.367-396
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• 2016

As an animation educator at Mahidol University International College, Bangkok, for eight years I have been in a privileged position to be educating a small section of a new generation of Thai animators. Thailand has had little animation experimentation of their own and pre-internet had limited access to such diversity so I have attempted to bring some of the wealth of animation history, in particular British and European, as this is my background, into the classroom. In particular my teaching aim has been to introduce various possibilities to the choices of medium, styles and textual narratives that early (and current) experimental and independent animators have explored. Since the release of the first commercial feature film, Khun Kluay 2006, the Thai animation industry has gone through various highs and lows in the commercial sector, building a skilled workforce, many of whom trained and worked abroad then returned. Now there is strong evidence of an independent animation starting to emerge. In a continuation to my research on Thai Animation this paper will analyze selected independent works in more detail, exploring the themes, style and technology used. Whilst also acknowledging the possible mis- interpretation as that this is coming from the perspective of an outsider whose cultural language and interpretation may transcend the creators' given experiences and add alternative interpretation. The aim will be to contextualize the content, ideas and cultural perspective and bring more Thai works into the gaze of animation studies academics

• 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 Hospice and Palliative Care
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• v.20 no.1
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• pp.1-7
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• 2017

The paper describes The Narrative Communication Model of Hope Seeking Intervention developed by the authors as an approach to help clients to have individually specific hope experiences. The Model is founded upon the existential conceptualization of hope that views hope as subjective, unique experiences of meaning and processes. The Model has been developed based on the findings both in the literature and the authors' work on the nature of hope and hope experiences and integrating the concept of hope as subjective meanings and experiences, the processes of story-telling and the concept of narrative configuration as a way to engage in person-specific experiences, and person-centered communication. The results of the experiences with the application of the model in a study are used to clarify the model further. The Model incorporating story-telling and narrative construction through person-centered communication is identified in three components-the story-telling, the narrative intervention, and the communication components. These components are processed as an intervention to culminate into person-specific hope experiences in which active participation of clients as the story-teller and of interventionist as the communicative facilitator is required to produce narratives of hope with individual specific thematic plots that become the basis for hope experiences. The application of the Model has shown positive outcomes in clients with successful seeking of own hope experiences. The success of the Model application seems to depend upon interventionists' understanding of the model and the competency with the application of person-centered communication strategies.

• Journal of Society of Preventive Korean Medicine
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• v.21 no.3
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• pp.11-18
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• 2017

Objectives : In an effort to suggest a developmental plan of Traditional Korean Medicine health promotion project(TKM-HPP), this study was conducted to identify the problems experienced by public health Traditional Korean Medicine(PH-TKM) doctors in duty and to analyze successful cases of the health promotion project. Methods : Two PH-TKM doctors in duty at the Public Health Centre branch and Public Health Centre respectively, and one TKM doctor in charge of Public Health Centre participated in the in-depth interview. The research procedure was as follows; 1) inform study objectives and interview questions to participants, 2) in-depth interview with semi-structured questions, and 3) post-confirmation and verification. The interview was recorded and transcripted. In-depth interview was composed of 6 subsections: 1) Introducing participants and share purpose of interview, 2) Confirmation of the job status and difficulty of public health centre, 3) Reflecting and sharing experiences of public health clinic job performance cases, 4) Current status and improvement needs of TKM-HPP, 5) Discussions on improvement of TKM-HPP in public health center, 6) Sharing and reconfirmation of interview results. Thematic analysis was conducted from the narratives. Results : The study showed that; 1) the support from the local government was critical for the successful TKM-HPP and participation of the PH-TKMs; 2) the major problems experienced by PH-TKMs were lack of training for TKM-HPP in the field and lack of knowledge at local government level; 3) the suggestions to provide PH-TKMs with manual to educate residents effectively and redefine roles of PH-TKMs in the project. It also suggests that TKM-HPP model should be developed by the district in a way of reflecting regional characteristics. Conclusions : Firstly, more efforts should be made on the projects rather than medical treatment in public health centers, except for areas where medical institutions are scarce. Secondly, in order to facilitate participation of PH-TKM doctors, each local office should reduce medical care and increase efforts related with projects. Thirdly, the institution has to develop feasible TKM-HPP plans that can be carried out by PH-TKMs by the manual. Lastly, pre-training should be provided to PH-TKMs to understand contents of TKM-HPP related to public health centre work before the placement.

• Korean journal of communication and information
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• v.44
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• pp.144-179
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• 2008

This paper explores the formation of global responsibility discourses in the elite US media used in promoting NATO's military interventions in the post-Cold War era. The case study of global responsibility discourses surrounding the Bosnian War (1992-1995) and the Kosovo Conflict (1998-1999) offers an account of the roles of the elite US media in foreign policy. The construction and articulation of global responsibility discourses in the elite US media were closely related to the US government's policy and were formed within the framework of US national interest and domestic responsibility. The cases of military intervention in the post-Cold War period imply that there were more fundamental structure and patterns by which the elite US media approached the 'humanitarian crises': 'benevolent domination' and the subsequent construction of a 'melodramatic national identity' in the war narratives. Presuming that the elite US media's discourse is a primary site for the public for experiencing and understanding distant suffering, this paper concludes that global responsibility discourses within the media may have dangerous ramifications for global democracy because the discourse of responsibility can potentially absorb the creative, progressive energies created by the public's awareness of responsibility on a global scale in order to reinforce the relations of domination.

• Journal of The Korean Association For Science Education
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• v.33 no.2
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• pp.390-404
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• 2013

The premise of the study is that teacher communities or teacher interest groups are one of the representative examples of Communities of Practice (CoP) formed by teachers who engage in the process of collective learning regarding science teaching. Based on the theory of CoP, we investigated and interpreted the process of identity development of six science teachers who have been actively involved in teacher communities. We conducted 2-3 individual interviews with the teachers in order to explore their narratives and personal experiences of being involved in the communities over the years. Results indicated that a teacher community is a place where the teachers not only generated and shared repertories of ideas, documents on teaching and learning, or routines (i.e. practices), but also formulated a set of relationships through social participation. Teacher communities actively provide the teachers a sense of joint enterprise and identity, and where the teachers have an opportunity to develop themselves personally and professionally as science teachers playing major roles in their communities.

• Korean journal of communication and information
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• v.59
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• pp.116-137
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• 2012

What is 'nation' and 'nationalism?' What does 'korean nationalism' mean? And how is korean nationalism represented through a chain of films called 'the korean blockbuster films?' The purpose of this study is to answer to these questions. The characteristics of the korean blockbuster films have been studied for quite a long time and the researchers have agreed with the context about nationalism in a large sense. However, majority of the studies ends up in the journalistic or impressionistic criticism without any theoretical discussion. Few theoretical criticisms also have founded on the formation process of nation of the Western Europe and their nationalism. Hence I would like to add the discourse of korean nationalism and to seize more accurately the social/cultural/historical peculiarity of the korean blockbuster films. In addition, as non-nationalist narratives have recently emerged, korean blockbuster films are entering to the evolution process. On this, the significance of this study seems to exist in providing a cornerstone to the expected evolution theory of the korean blockbuster films by means of complementation and reestablishment of nationalism of their first generation. and , presenting socio-historical peculiarity of the Korean nation, are examined by the close textual analysis.