• The Journal of the Korea Contents Association
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• v.8 no.12
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• pp.396-403
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• 2008

This paper is to develop tourist destination storytelling strategy using popular culture contents. Place is the result of meaning construction process. Especially discourse plays an important role in the social construction. Discourse generally consists of printed materials, auditory discourse, and visual discourse. For social construction of a tourist destination, discourse may be supplied by the media, or the tourist. In the tourist destination storytelling's view, strategies are composed of extending of tourist destination mania, circulating nostalgia for tourist destination, developing experience circumstances of popular culture tourist destination, making tourism story networks, making tourism storytelling process, and cultivating tourism experts of popular culture.

• Journal of the Korean housing association
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• v.18 no.1
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• pp.53-60
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• 2007

Storytelling approach is the way to formulate and solve problems using stories. Story is a means to understand and react everyday life that can be regarded as multi-dimensional problems. The approach becomes popular in various fields in conjunction with digital technology. In particular, it is used to solve problems in relation to whole context. In design, storytelling approach is used to clarify design constraints. It can be used to clarify and communicate thoughts for design artifacts, and to understand how the artifacts might be used in particular circumstances. In particular, the approach is useful to use under uncertain circumstances. In architecture, storytelling approach can be used in the area of design generation, design critique and capturing design knowledge. In design generation, it can be used to describe and formulate design experiences rather than simple designing artifacts. The approach formalizes design based on stories of user experiences. Digital technology such as virtual reality can be used to experience designed spaces for design modifications. In design critique area, it can be used to fill uncertain facts for historical buildings as welt as different from present status. Such stories can be used to build digital modeling and used to open criticism. Stories can be used to formalize knowledge in architectural domain as a form of implicit knowledge for certain projects. In architecture, it often is required to design types of environment never experienced before as well as to accomodate fast changing technologies. Storytelling methodology can be used as a method to cope with uncertainty and complexity in design requirements along with accumulating design knowledge.

• Korean Institute of Interior Design Journal
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• v.24 no.6
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• pp.79-86
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• 2015

This study started from the concern for Bjrake Ingels, an emerging architect in the architecture circle, who is creative and popular. Recently, the architecture field provides architects with a foundation to express a process on a new form creation through various new expressive languages, design concepts, and methods. The global Danish group BIG(Bjarke Ingels Group) develops a story by their distinctive architectural language. The storytelling is being used in various fields and now the tool called 'story' is settling down as an important element in the life that human lives. Bjarke Ingels leading the group BIG aims for the form expression by the scientific analysis and adaptation after being affected by Danish regional background and OMA. It creates a form to share stories with local members by visually simplifying the region, culture, environment, social phenomenon, economy, and politics that are invisible and do not have the form in the modern society. The elements and expressive features of the space storytelling include locality, cultural, natural environment, and connectivity which are the content structure(story) that enables you to intervene in the story according to the main agent to imagine a new space. The expressive element includes the watching moving line story of the successive, hierarchical, and organic structures which are constructive elements creating various spaces through the mixture, transmutability, and relocation of the program and inducing users to the space. The space storytelling is composed of the symbolism, community, and eco-friendliness to appear diversely through BIG's case analysis. This study will have significance that it drew a method and feature looked at by many contemporary architects from the storytelling viewpoint in the form-creating process, classified the form-creating process through a new storytelling type, and showed a possibility on the development of various methodologies.

• Journal of Popular Narrative
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• v.27 no.2
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• pp.215-262
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• 2021

This thesis focuses on Wandeuki and Elegant Lies - novels written by Kim Ryeo-reong and adapted into the film by Director Lee Han; this thesis analyzes the process of storytelling being transformed as the media is converted. Also, this thesis discusses cultural-political implications of transmedia storytelling where different narrative responses coexist concerning post-IMF family disorganization and "individualization." First of all, this thesis critically reviews existing discourses on the concept of transmedia storytelling and refers to 'transfictionality' the narratological concept of Marie-Laure Ryan in order to look into media conversion storytelling that starts from original novels. The novels Wandeuki and Elegant Lies show two aspects of "individualization" that adopts existential conditions of family disorganization. Wandeuki deviates from patriarchal family romance through self-discovery and exhibits loose family bond, which is something similar to companionship of close individuals. Elegant Lies shows individualization of pain by portraying a teenager who found herself completely isolated, while showing that it is impossible for the people left behind to mourn. On the other hand, director Lee Han's films and show stories in which family members, who are confronting family dissolution, rediscover and restore their families against family dissolution. The film promotes the expansion of family community through multicultural identity, and the film completes condolence of the people left behind by having the remaining families survive as survivors of suicide. The storyworld of the novels puts emphasis on 'self-discovery' of individual adolescents, while the storyworld of the movies puts emphasis on 'rediscovery of family'. Through transformation of storytelling - especially the redesigning of narrative structures called "modification" - transmedia storytelling shows that the relationship between media-converted texts is far from "faithful representation," but rather, shows conflicting themes and perspectives. With a reference point of 'the emergence of character' transmedia storytelling, which is predicated on the original work but aims to free itself from the original work by transforming storytelling through media conversion, opens up polyphonic storyworld by creating heterogeneous voices. In the post IMF-era, where uncertainty mounts over family dissolution and individualization, polyphonic storyworld created by transmedia storytelling provides an opportunity to experience disparate desires over individual freedom/risk and complacency toward community. We can call this the cultural-political implication of transmedia storytelling based on transferring, transcednding, and transforming.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.21 no.2
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• pp.328-334
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• 2020

In this paper I proved that the intention of the movie is to put the reader at the crossroads of choice, which is still in progress, in this context confirmed that the storytelling is very enlightening and popular. This was demonstrated by the thing of making a story the charactor's Affects process itself in the story and a change in the point of view from witness to participant in the discourse. Jang Hoon seeks to reconstruct the Gwangju Democratic Movement through Kim Man-seop, a character who now lives here with trauma. Faced with a sympathetic message from a common and familiar figure around us, such as a taxi driver, it should be said that the goal was to get the audience to accept past gruesome incidents as part of us. The film uses Affects as a way to make the 1980s "Them" become "we" and replace the 37-year-old incident with our modern story. Soon, the film's intention is to turn Gwangju's Democratic movement from "There, Their Story" to "Here, Our Story." That's why popular storytelling was needed and concluded that it was the popularity the film acquired.

• Journal of Korea Game Society
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• v.16 no.5
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• pp.159-168
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• 2016

$Pok{\acute{e}}mon$ Go is an augmented reality (AR) game developed jointly by Niantic and Nintendo. It's a new type of augmented reality role-playing game (RPG) where AR elements like location information, visual recognition technology and GPS navigation technology are integrated with the intellectual property of the popular $Pok{\acute{e}}mon$ anime. The global success of $Pok{\acute{e}}mon$ Go can be attributed to the innovative incorporation of AR technologies into the game but also to the utilization of the Pokemon story which had been developed for 20 years. In summary, Pokemon Go is the fruitful result of a successful storytelling that combines the humanistic imagination of a popular, cultural archetype and the engineering imagination of AR game technologies.

• Journal of Popular Narrative
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• v.25 no.2
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• pp.217-245
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• 2019

Recently, the interest among Korean broadcasters in the 'observation entertainment' genre has intensified. This study aims to analyze the genre and storytelling of observation entertainment programming from a narratological perspective. The origin of the Korean observation entertainment program began with the 'reality-variety show'. There was a 'real-life' debate in these reality-variety shows, and as an alternative, the observation entertainment program appeared. Documentary filming, omnibus composition, and spatialization of 'everyday' life have led to the recognition of observation entertainment as a single genre. In particular, 'observers' have become a key factor in the observation entertainment program. The subject of the program is determined by who the observer is. The variability of the program format is the same. The observer looks at the observation target on behalf of the viewer. At the same time, he or she serves as a narrator of the program. The observer functions as the most influential factor in the storytelling of the observation entertainment program. In the observation entertainment program, 'observation' is only a form. It is the observer who creates a narrative within this same format to make the difference between each program. Also, voyeurism has been considered a problem in reality shows such as observation entertainment programs. However, the form communicated by observers is not a direct peek, so much of the problem of voyeurism is mitigated. Such observation entertainment programs analyzed through observers are meaningful in that they make people understand the cultural meaning of "reality" in TV and the storytelling of contemporary Korean TV entertainment.

• The Journal of the Korea Contents Association
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• v.17 no.8
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• pp.196-208
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• 2017

Busan is one of the most popular tourist cities of the Republic of Korea. To develop differentiated urban brand as the nation's flagship maritime city, Busan needs to explore diverse marine tourism stories and develop related contents. For the purpose of developing storytelling as a way to facilitate the maritime tourism of Busan, this study attempted to i) create 'marine leisure Galmaetgil of Busan' contents using 5-step storytelling modules and ii) develop themed tour routes based on the marine tourist contents and related graphic elements such as tour route map and image editing. Galmaetgil is a beautiful trail developed along the coastal line. It is one of the most famous tourist contents of Busan. Based on this asset, Busan would be able to develop its own tourist contents as the nation's proud marine-leisure city. The emotional stories which can draw a great attention from the citizens and tourists and informative storytelling would make people understand and experience marine leisure in a fun and easy.

• International Journal of Contents
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• v.10 no.2
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• pp.74-82
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• 2014

This paper aims to propose the educational concept and design model of a Smart Board Game appropriate for lower elementary grade students. The Smart Board Game refers to a hybrid, or 'convergent', game format based on the offline format of the conventional board game augmented through the use of smart devices. The substantive aspects of this game format utilize the procedural deduction and problem-solving skills applicable in storytelling methodologies and games, in order to generate and propose contents ideal for the educational environment. The development of the Smart Board Game is conducted through the following stages. First, the study analyzes a number of Smart Board Games currently popular in Korea and abroad, based on identification of the key components and processes of the board game format. The subsequent review of the science curriculum for lower elementary grades aims to determine the aspects conducive for application to Smart Board Games. Lastly, the theoretical framework outlined through the previous stages is used as the basis for the proposal of a detailed model of contents for the smart board game concept.

• Science of Emotion and Sensibility
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• v.15 no.4
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• pp.489-502
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• 2012

Storytelling advertising is one of the most popular ad types in marketing field. However, there has been little attention to storytelling ads in consumer and advertising research. To examine the effectiveness of different types of advertising, this study collected 9 commertial ads, which consisted of 3 advertising types(storytelling, informative, image) ${\times}$ 3 products(digital camera, coffee, health drink). We investigated the differences in emotions after ads and arousal level, as well as the advertising effectiveness among the three types of advertising. Preliminary analysis revealed that the emotions after ads could classified into two distinct emotion types, affective emotions and cognitive emotions, and we used the two emotion types as emotions after ads to simplify the results. The results indicate that the storytelling ads are more effective than the image ads, but this power of storytelling ads may not be found in the comparison with informative ads. It is also found that storytelling ads can help form a more positive attitude for males than for females, whereas image ads can have an more impact on females than males. In addition, it can be proposed that affective emotions after ads may play an important role in the effectiveness of advertising types, but the interaction effects of advertising types and gender may depend on the cognitive emotions after ads.