• Journal of Korea Multimedia Society
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• v.19 no.3
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• pp.659-672
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• 2016

In animated films, characters materialize narratives through acting. The narrative is an element to materialize accurate delivery of lines and emotions. The non-verbal actions should express lots of emotions and lines in scenes, and also they can be used as a way of empathy. This study analyzed the visualization factors of narrative focusing on a cat character frequently shown in animated films. For this, the visualization factors of non-verbal actions expressed in characters' personal space and dynamic space were extracted. Based on this, it aims to suggest the emotion expressing method of characters to realize effective narrative visualization. In the future, it aims to be used as reference data in case when producing non-verbal communication for 3D characters.

• Journal of Korea Game Society
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• v.9 no.3
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• pp.53-66
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• 2009

The purpose of this study is to show typology of Non Player Character(NPCs) and to look out what narrative functions of NPCs are served in Massively Multi-player Online Role-Playing Game(MMORPG). As the relationship with player characters and the propensity of actions, NPCs are classified 4types; passive helper, active helper, passive antagonist, active antagonist. Each type performs different functions of game narrative. Especially passive helper functions as a essential glue of movement in game world and makes the chain of quest narratives. Active antagonist functions as the cause of space perspective and creates dramatic effect of game narrative. Those functions make spacial, dimensional and extensible game narrative.

• Proceedings of the Korea Society of Design Studies Conference
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• 2002.05b
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• pp.272-273
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• 2002

• English Language & Literature Teaching
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• v.15 no.2
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• pp.185-207
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• 2009

This study investigated the extent of informational text genre appeared in English textbooks at grades six, seven, and nine. Employing content analysis to analyze the literary forms, the researcher identified genre in each reading selection of each English textbook and classified it into six categories - fiction, information, biography, poetry, play, or fantasy. Especially, informational genre was classified further into two subcategories - non-narrative and narrative - in order to investigate the extent of non-narrative informational text only. The text genre was examined by analyzing (a) the number of reading selections representing each genre and (b) the number of words in reading selections devoted to each genre. The most frequent type of genre at grade 6 and 7 was fiction with 94% and 71% respectively, whereas at grade 9 it was devoted to information (51%), followed by fiction (37%). The largest number of words was devoted to fiction with 96% at the sixth grade and 70% at the seventh grade; on the other hand, for grade 9, it was devoted to information (46%), followed by fiction (39%). Although there was variance across different publishers, the informational text genre gained more significance as the grade level increased. In particular, the percentage of reading selections and words devoted to the non-narrative or expository informational genre was overall 4% at grade 6, 17% at grade 7, and 44% at grade 9. The findings demonstrated the need to pay more attention to informational literacy especially in the early grades for the development of balanced genre knowledge.

• Cartoon and Animation Studies
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• s.29
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• pp.61-75
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• 2012

The essay explores the narrative structure of the classical Chinese feature animation, (a.k.a. Da Nao Tian Gong, 1964). The film is presented with a modular structure which is quite unique compared with the storytelling in feature animated films from other cultures, but could be connected with the tradition narrative structure in Chinese Zhanghui style novels in Ming and Qing Dynasty. By relating the original text of the story, the 16th century novel Journey to the West (a.k.a. Xi You Ji), with the film , the essay addresses the question of how the narrative tradition in Chinese classical literature influenced the Uproar in Heave for its segment narrative structure, character driven storytelling strategy and mirrored repetitive 2 plot lines. The subject of this essay is even more significant after the restored 3D version of was re-released in the spring of 2012 and became one of the best-selling animated feature film in the history of the country.

• Journal of Korea Game Society
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• v.8 no.4
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• pp.45-53
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• 2008

This paper analyzed the narrative construction of ‘World of Warcraft’ which is very popular worldwide. Narratology and ludology should be interrelated in the larger area of art, rather than existing as separate fields. Dramatic narrative constructions of game would be made when the rules of game emerge with the circumstances of play. This paper reviews how 'World of Warcraft' generates its tremendous popularity through analyzing the overall narratives of 'World of Warcraft' and sub-narratives such as quest, PvP and hunting systems. The distinctive feature of this game is its well-designed story flow which is emerged by both underlying linear original story and non-linear multi-scenario that offers rich interactivities to the game users.

• The Journal of the Korea Contents Association
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• v.12 no.6
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• pp.120-131
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• 2012

This study has attempted to explore the way to construct the reality and its implication of the narrative elements in TV Audition Reality Show. According to the study results, first of all, two audition reality show has added the special tasks to characters based on the competition and has developed the dramatic events sequentially. And they has suggested the course of way between survival and fail, that is, inclusion and exclusion. As that results, audiences has be immersed in the process of the justification of the star(hero) myth and the dealings of musical elements to see dramatized show of narrative. And they knew audition reality show as non-real fiction, so they enjoyed the pleasure spontaneously. These means that the empowered media reproduced the illusion like star(hero) with the purpose of the commercial and political aim and one of the ideology to acquiesce in the appropriateness of the competition.

• The Research Journal of the Costume Culture
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• v.12 no.6 s.53
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• pp.918-932
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• 2004

Fashion is a product of form expressing the socio-cultural mood and aesthetic value of an age. Owing to development of the mass media and diversification of arts under the influence of post-modernism in the 20th century, fashion has been more briskly expressed to be presented to the people. With such basic conceptions in mind, this study was aimed at reviewing the fashion photography as visual medium. To this end, visual narrative techniques were analyzed and thereupon, Philip-Lorca diCorcia's fashion photography was examined. This study reviews such visual narrative techniques by dividing into visual and non-visual elements and thereby, examines the three-fold aspects of fashion photography expressions : Representative Level, Ground Level and Context Level. Also this study focuses on Philip-Lorca diCorcia's fashion photography in 'W magazine' which features portfolio form. This study analyzed the visual narratives shown in fashion photography and thereby, expand in diverse ways the fixed images of the conventional fashion photography commercials featuring beautiful models and exquisite costumes, and additionally, determined that fashion photography must be a kind of expression tool which could express not only the simple fashion but also the socio-psychological elements inherent in fashion.

• Cartoon and Animation Studies
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• s.40
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• pp.397-421
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• 2015

Aristotle's Poetics is the earliest work of dramaturgy. It explains some of the most important narrative notions, for example, Mimesis, Katharsis, Mythos(Plot), Ethos(Character), Anagnorisis and Peripeteia. etc. Aristotle considered the plot which is the arrangement of events, as the most important element of drama. This paper presents an example of a plot configuration as an alternative to the traditional narration used since Aristotle. Dead Island, developed by Techland and published by Deep Silver, is one of the most successful action role-playing survival zombie video games. Its trailer, the Winner of Gold Prize for Internet Film at Cannes Lions International Festival of Creativity in 2011. Since the purpose of the trailer is to attract the audiences/gamers to the film/game, it has generally a similer narrative method from its own works. But Dead Island trailer is different. We treat this trailer as an short animation. It could be a new example of the non-linear narrative by the control of the time for example, temporal arrangement, direction and speed. We analyse all shots of Dead Island's trailer with Poetics' rules and with $G{\acute{e}}rard$ Genette's some narrative notions for example temporal order and duration. Furthermore we look for how to maximize the audiences' curiosity by the adjustment of the time, combined with its shocking images.

• The Journal of the Korea Contents Association
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• v.14 no.1
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• pp.88-96
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• 2014

This study attempts, based on the premise that gender roles and identity is a social construct, to show how TV portrayal of the male has changed through the years with changes in time and society, from the traditional depiction of hegemonic masculinity and ideal manhood as supported by the patriarchal system. A narrative analysis was conducted on popular variety shows "Dad, Where Are We Going?" and "Superman Returns". The results showed that both TV shows created a new type of masculinity by centering the narrative on the traditionally female roles of child rearing and housekeeping, and recreating the traditional strict and authoritative father figure into a non-authoritative and emotionally expressive father. However, as 'child rearing' and 'housekeeping' is expressed as 'play', there are limitations in that the actual daily lives and hardship of women is excluded from the narrative.