• Journal of Popular Narrative
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• v.25 no.1
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• pp.165-191
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• 2019

The purpose of this article is to elucidate why the motif of time travel is repeated in the science fiction narrative by examining the functions of this motif in the SF movie series of Star Trek in its narrative and non-narrative aspects. Star Trek IV: The Voyage Home (1986) aims to attract the audience's interest in the story through the use of plausible time travel in the form of the slingshot effect which causes the spacecraft to fly at very fast speeds around an astronomical object. The movie also touches upon the predestination paradox that arises from a change of history in which it describes a formula of transparent aluminum that did not exist at the time. The film also serves as an evocation of the ideology of ecology by including humpback whales in the central narrative and responding to the real issue of the whale protection movement of the times. Star Track VIII: First Contact (1996) intends to interest the audience in the narrative with the warp drive, a virtual device that enables travel at speeds faster than that of light and a signature visual of Star Trek, at the time of its birth through time travel. The film emphasizes the continuation of peaceful efforts by warning the destruction of humanity that nuclear war can bring. It tackles with the view of pacifism and idealism by stressing the importance of cooperation between countries in the real world by making the audience anticipate the creation of the United Federation of Planets through encounters with the extraterrestrial. Star Trek: The Beginning (2009) improves interest through the idea of time travel to the past, this time using a black hole and the parallel universe created thereby. The parallel universe functions as a reboot, allowing a new story to be created on an alternate timeline while maintaining the original storyline. In addition, this film repeats the themes pacifism and idealism shown in the 1996 film through the confrontation between Spock (and the Starfleet) and Nero, the destruction of the Vulcan and the Romulus, and the cooperation of humans and Vulcans. Eventually, time travel in three Star Trek films has the function of maximizing the audience's interest in the story and allowing it to develop freely as a narrative tool. It also functions as an ideal solution for commenting on current problems in the non-narrative aspect. The significance of this paper is to stress the possibility that the motif of time travel in SF narrative will evolve as it continues to repeat in different forms as mentioned above.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.265-299
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• 2021

The purpose of this research paper is to facilitate the understanding of the synesthetic aesthetics in the film The Age of Innocence through the intertextuality among the narrative, paintings, and music in the film. In this paper, a two-dimensional intertextual analysis of the paintings in relation to the narrative is conducted on the paintings owned by Old New York, the paintings owned by Ellen, the portraits of unknown artists on the street outside of Parker House, and Rubens' painting at the Louvre. A three-dimensional intertextual analysis of performances in relation to the narrative is conducted on the stages and the box seats at the New York Academy of Music, in which Charles F. Gounod's Faust is performed, and the Wallack's Theatre, in which Dion Boucicault's The Shaughraun is performed. An intertextual analysis of music in relation to the narrative is also conducted on the diegetic and non-diegetic classical music of the film, including Beethoven's Piano Sonata No. 8 and Mendelssohn's String Quintet No. 2, as well as Elmer Bernstein's non-diegetic music of the film. The constituent event of The Age of Innocence represents the passion trapped in the reflection of love and desire that are not lasting, and the supplementary event embodies the narrow viewpoint and the inversion of values caused by the patriarchal authority of Old New York. The characters in the film live a double life, presenting an unaffected surface and concealing the problems behind it. The characters restrain their emotions at both the climax and the ending. The most powerful aspect of the film is the type and nature of oppressive life, which are more delicately described with the help of paintings and music, as there is a limit to describing them only by acting. In intertextual terms, paintings and music in The Age of Innocence continuously emphasize "feeling of emotions that cannot be expressed in language." With a synesthetic image, as if each part were imprinted on the previous part, the continuity "responds to continuous camera movements and montage effects." In The Age of Innocence, erotic dynamism brings dramatic excitement to the highest level, switching between the satisfaction of revealing desire and the disappointment of hiding desire due to its taboo status. This is possible because paintings and music related to the narrative have made aesthetic achievements that overcome the limitations of two-dimensional planes and limited frames. The significance of this study lies in that, since the identification in The Age of Innocence is based on the establishment of a synesthetic aesthetic through audio-visual representation of the film narrative, it helps us to rediscover the possibility of cinematic aesthetics.

• Korean Journal of Childcare and Education
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• v.8 no.3
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• pp.163-184
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• 2012

The purpose of the study was to carry out research on the work-related stress of child care teachers in employer-supported child care centers. Four-experienced child care teachers were designated for this research, and then data were collected through narrative research. In this study, work-related stress of child care teachers in employer-supported child care centers was found to be of the following types, "laborious oneself caused by the prolonged working environment", "fears about non-permanent employment status", and "a huge mountain named parents work". Research findings were discussed in term of the implication of understanding teacher' work-related stress.

• The Journal of the Korea Contents Association
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• v.7 no.4
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• pp.103-113
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• 2007

This paper attempts to construct a storytelling model of computer games by using the Greimas's schema of narrative. Analysis target is multi-play of Starcraft, which has the non-linearity and interactivity. As a result, the process of manipulation and sanction, occurred in epistemological level at very short time and the process of competence had lots of small schema of narratives and repeated that small narratives. This model may be applied to other games, because it looks that most of games have very short process of manipulation and sanction at epistemological level and have long process of competence as main game play.

• The Korean Journal of Archival Studies
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• no.42
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• pp.287-326
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• 2014

Documenting environmental conflicts will be a priority target for documenting localities, because those conflicts are critical events that make intensive 'place experiences' of local residents. This study is to design a narrative structure for documenting conflicts in the process of Transmission Towers Construction in Miryang. This study begins with analysing the characteristics of environmental conflicts, and draws a conflicts documentation model including basic rules, narrative structure and development process. Basic rules are set up as mixed documentation of memory and evidence, application of 'frame', and dynamic description. Based on the rules, this study suggests a dynamic and open narrative framework adopting the metadata model of ISO 23081. This model is applied to documenting Transmission Towers Construction Conflicts in Mi-ryang. The full narrative and 'frame' of the conflicts are set after analysing development and issues of the conflicts, stakeholder, and properties of each conflict problem. Records descriptions are related to the context(each event occurred in the conflicting conditions, mandates, and stakeholder) descriptions to make multiple narratives in digital environments. Event description contains elements for articulating the 'frame' of each party of the conflict. The merits of this model are; i) to accumulate the adequate context information systematically by adopting dynamic narrative model, and ii) to acquire the new items and connect them to related items easily and consistently through multi-entity description. This documentation model of environmental conflicts may support to shape the collective memory of community, and to achieve good governance by managing conflicts in the process of locating non-preferred facilities with due regard to values and perceptions of residents and communities.

• The Journal of the Korea Contents Association
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• v.17 no.9
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• pp.60-68
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• 2017

Through this thesis, I wanted to understand the form of free indirect discourse of modern films. To this end, I first explored the notion of the polyphonie as a mixture of the speaker and the character' voice in order to establish a concept related to free indirect discourse. However, I could not overlook the differences in the form of novels and movies to apply the following theory to films. Based on the concept of narrative distance, I sought to explore the possibility of free indirect discourse from the dual position of the camera. Next, I introduced the concept of free indirect discourse in the film by introducing the concept of Time in G. Deleuze' CinemaII. In other words, the time from Deleuze is the past and the present cycle, and he sees the Time circulating like the Non-Euclidean space. I wanted to understand the form of free indirect discourse in films by analyzing the concept of Time as an analysis of the movie .

• The Journal of the Korea Contents Association
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• v.21 no.10
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• pp.332-343
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• 2021

This study shows that reality in interactive documentaries can be distinguished between narrative reality and visual reality, which can be defined as a feature of reality-based interactive documentaries. This study reveals the visual reality in that all audiences who visually watched "The Maribor Uprisings" were immersed in the movie presented by the producer, and thus sympathized with the problems of non-violent protests and social conflicts through two-way communication between the audience and the actors. This study also confirms that epic reality in that it can selectively participate in the narrative of movies through questions about democracy in action. Besides, this study finds that the reality expressed in the interactive documentary deepens the audience's 'immersion', showing that the direction of the narrative can be determined by reflecting the opinions of the audience on an event or narrative of the movie. In this process, the audience was found to have the characteristics of being able to recognize and rediscover events in the movie as if they were close to them.

• The Journal of the Convergence on Culture Technology
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• v.9 no.5
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• pp.133-140
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• 2023

The origin of texts we refer to as literary or artistic may be imagination, but many are based on experiences. In fact, experiences can be the source of artistic imagination since imagination often builds upon experiences. Therefore, the act of verbalizing human experiences using them as raw material can become a great form of art. Transforming past experiences into stories and infusing them with vitality inevitably requires a creative process of reconstruction, which is essentially a literary process. As such, 'Personal Narrative' holds significance as a literary process that weaves facts into stories and shapes them into forms. Individual experiences are stored as personal memories, and these 'personal memories' continuously generate stories. Collections of individual stories are stored as multiple memories, which gradually form 'collective memories' with distinct social and cultural inclinations through the passage of time and invisible yet potent societal and cultural censorship. The problem lies in the fact that individuals may tend to align their own memories with the inclinations of collective memory rather than simply recalling what they personally experienced. In the context of actual history, personal memories and collective memories communicate with each other, producing non-fictional content close to reality and sometimes manifesting as fiction content enriched with imagination. 'Personal Narrative' holds a significant genre as one genre of non-fiction content within our culture.

• Cartoon and Animation Studies
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• s.36
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• pp.417-436
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• 2014

Stories have existed with the history of mankind along with drawings. Any genre of art that discusses the flow of time, such as literature, film, and play, cannot be free from narratives. The comics are not an exception. The comics tell the narratives with drawings from the cartoons in single blocks to the full-length series in tens of volumes. Nevertheless, there are not many studies that discuss the narratives in the comics. They may have been overlooked because they have been studied in the field of literature. However, I am envious of the field of film, which unravels the narratives with the same visual images, profoundly explores its own narratives and experimentally modifies and expands them into various levels. Therefore, I would like to make a narrative approach to the comics in this study. This study will discuss the non-narratives. It may sound ironic that the study of narratives will discuss the non-narratives, but the narratives cannot exist without the non-narratives. The non-narratives in the narratives compose the narratives in various ways. Therefore, Chapter II will discuss how the theory of narratives in literature classifies the narratives and the non-narratives as a theoretical background. Then, Chapter III will analyze the forms of non-narratives in Han Jo Kim's "The Texture of Memory" to discuss how the non-narratives of comics are composed, while Chapter IV will summarize the preceding studies. Finally, the narratives should be actively studied as it is an essential component of comics. I hope that this study can lay the foundation for more in-depth discussions of the narratives in the comics.

• Smart Media Journal
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• v.12 no.1
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• pp.77-91
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• 2023

Interaction methods and technologies for mutual exploration based on user behavior are evolving variously. Especially, in recent years, with the development of a wide range of sensors, they have developed from contact to non-contact methods. However, developers' senseless definitions of the interaction methods have made the exploration process quite complicated, which rather creates the hassle of users needing to learn the interaction guide defined by the developers before experiencing the exhibition contents. In this context, in order to make visitors smoothly communicate with exhibition contents, a preliminary study on easy interaction for users of various ages is needed, and in particular, research on improving the usability of user interaction is also essential when developing non-contact exhibition contents. So, in this study, a method to reduce the confusion between developers and users was sought by researching non-contact interaction that could be universally interacted with in the field of exhibition contents and proposing behavior designs. First, based on the narrative structure of cultural resources, existing studies were reviewed and the points of interactions as cultural contents were derived. Then the most efficient search process was selected among non-contact behaviors based on hand gestures that allow users to naturally guess and learn interaction methods. Furthermore, on the basis of the meaning of non-linear narrative-based interaction and the analysis results of spatial behavior elements, affordance behavior with high learning effect and efficiency was derived. Through this research process, an action that helps users to understand non-contact interaction naturally in the process of exploring exhibition-type cultural contents and to utilize non-contact interaction in the process of immersion in exhibition contents is proposed as a final model.