• The Journal of the Korea Contents Association
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• v.18 no.1
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• pp.55-63
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• 2018

This study aims to analyze remediation of games and fictions in Korean virtual reality game fictions and to derive the storytelling of virtual reality game fictions through them. The purpose of this study is to explore the possibilities that Korean game fiction based on the web can be expanded as popular literature. The main character of the fiction is a male in his twenties. In the neoliberal society, he is set as a member of the neglected class and lacking privilege. He enters the virtual world because of the deficiency experienced in the real world. It minimizes the mediation process between the real world and the interface. On the other hand, the repetitive actions performed by the protagonist belong to the category of self - destructive labor. As a result, he shows signs of narcissism. In the Korean virtual reality game fiction, the magic circle appears blurred, and the real world and the virtual world are linked. In this process, the virtual world functions as a substitute space to solve the problem of reality. The establishment of such a space, and the resolution of conflicts are merely narrative characteristics of Korean game fictions that are different from North America and Europe.

• Journal of Korea Multimedia Society
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• v.25 no.9
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• pp.1356-1366
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• 2022

In the display of virtual space, the degree of space virtualization cannot be judged only by the degree of material technology. Based on the non-material relationship, the virtual space that this research focuses on is a conceptual and ontological point of view (based on the conceptual and ontological viewpoints of non-material relations), including practical technical issues. The research on the characteristics of virtual space ontology not only has an impact on the space design of science fiction movies, but also becomes a powerful medium that brings changes to the world. In the future, there will be a large number of cases where fantasy things in science fiction movies are actualized. From this perspective, based on the study of several science fiction movies using virtual reality scenes, this paper puts forward a study on the representation characteristics of virtual space ontology. In addition, the study of the virtual reality is of great significance for verifying the possibility of virtual reality in the application of deep space technology in the future. At the same time, it provides reference value for the development of special effects film field from montage theory-based to Bazin theory-based expression, and contributes to the theoretical system of film space.

• English & American cultural studies
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• v.14 no.2
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• pp.77-96
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• 2014

As the cyberspace several decades ago created a cyber fiction fever, the augmented reality as the future of imagination can generate another kind of literary genre and new social ambiance where books tend to come to life more realistically. This newly created "smart fiction," "smart movies," and "smart environment" will be full of fun, hopes and conveniences. But addiction to smart kinds will create unwanted dangerous plethora like ghost-like avatars, wild animals and Farid due to the limitations of human control over hi-technology. If so, the adventures we plan to take will turn fantasy into horror in no time. Instead of loving new scientific things blindly, the emphasis hereafter must be put rather on the potentially negative aftermaths of the new innovative technology. Some viewers after watching the film Avatar are still suffering from the syndrome called "avatar blues," a homesick for Pandora. After their experiencing of the experimental 3D effects in books and media, audience and readers are required to actively deal with the increased lack of the darker cave which the comparatively unsatisfactory present can never fill with fixity and limit. Like the prevention against the addictive online game or the manual of 3D television or 3D printer, the extreme off-limits and safety zone for this virtually and expendably subverting technology must be seriously reviewed by community before using and adopting it. Also, these technologically expanded and augmented environments must be prudently criticized by the in-depth study of literature just as cyber space begun by Gibson's cyber fiction and its criticism.

• Journal of Multimedia Information System
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• v.6 no.4
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• pp.309-316
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• 2019

Virtual Reality is broadly recognized as an "empathy machine". This reputation is due to the feeling of 'presence' that it provides to users, which is the sensation of being bodily present in a space, even when that space is virtual. The possibility of complete immersion attracts many creators looking to induce empathy and awareness about the most diverse subjects. One of the first types of VR non-fiction productions to be released was in the morally sensitive humanitarian documentary genre. This research aims to explore how VR productions differ from non-VR productions with a focus on humanitarian communication. Rather than targeting mechanical aspects of VR technology, this article compares the visual and narrative storytelling characteristics in VR and non-VR media. First, humanitarian communication and its nuances are explained. Then, 360° video filming characteristics are analyzed, followed by a comparison table contrasting VR and non-VR non-fiction. After evaluating VR non-fiction empirical studies, a discussion is initiated over the betterment of VR non-fiction storytelling in a way that could help it generate more empathy, since many productions seem to purely rely on the technology as a production novelty, and end up lacking emotional depth and audience engagement through story.

• The Journal of the Korea Contents Association
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• v.10 no.1
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• pp.202-212
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• 2010

The purpose of this study is at clarifying what the genre oriented characteristics of virtual reality programs are. For this, the tests of 'We Are Married' being broadcasted in 'Sunday, Sunday Night' Part 1 of MBC from episode 1 to 8. As a result of analysis, this program was mixing together virtuality and reality by placing the image of virtual couple's life and presentness of entertainers existing in reality appearing at the studio. Also, it was forming sympathy with users as it satisfies fantasy and sense of reality toward marriage by the entertainer couples showing love and conflict that may happen between real couples after setting various categories of couple types. Also, through the device for the public space to confess private feelings through television, it shows the boundary between public domain and private domain breaking up. Along with this, it has implemented amusement characteristics by inspiring enjoyment of users by a substituted satisfaction through various forms of impressions presented to spouse such as materials, effort, gesture or language, etc. Accordingly, the virtual reality program shows authenticity, fiction and amusement by being mixed together and we can see that such genre oriented characteristics act as important strategy appealing to users based on breakup of boundary and genre oriented ambiguity.

• The Journal of the Korea Contents Association
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• v.19 no.10
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• pp.274-289
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• 2019

The purpose of this study is to regard the non-fiction participants in the reality observational entertainment program as social actors. For this, the study has examined the concepts of social actor and performance, understood how the performances of social actors are projected onto the screen, and textually analyzed Youn's Kitchen season 2. As a result, the non-fiction participants(the guests) of Youn's Kitchen functioned as the social actors who performed the roles derived from their social relations under the consciousness of the camera. The more the number of social actors in the observational space increased, the more the number of their performing roles grew. Their everyday activities have been chosen by various filmic devices, such as the cameras, within the specific frame of hybrid performance mode that representational and presentational performances coexist.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.397-428
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• 2019

Fantasy emerges from the cracks and crevices of rational reality. Italo Calvino says, "Fantasy is possible when the reader stays at a certain distance without falling into the text." Fantasy does not form farthest from reality. It comes from the confusion between reality and fiction. In short, fantasy does not exist on the contrary of reality, but on the boundary of reality. Reality and fantasy are also structurally intertwined. We can't distinguish the reality from fantasy clearly. In fact, in this case, the reader or audience is confused about whether what I see is real or not. Todorov calls this case "hesitation." Hesitation is a key element of fantasy. Two texts that expressed "hesitation" are Kim Young-ha's short novel Vampire (1997) and Wes Anderson's film The Grand Budapest Hotel (2014). On the surface, these two texts seem to have nothing to do with narrative structural similarities. And both also arouse readers' and audiences' interest by letting confuse reality to fantasy. In Kim Young-ha's Vampire, we can look at the process of confusion of reality called "narrative infection" when a text is read to the reader. In the movie The Grand Budapest Hotel, we can find a strategy to make an unreal story feel like a fact in history. And we can also find a process in which the success stories of alienated characters become reality through 'solidarity' in the film. This paper is a study of how fantasy creates "reality", makes readers feel fantasy, and how it spreads through these two texts.

• English Language & Literature Teaching
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• no.4
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• pp.269-284
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• 1998

The purpose of this thesis is to understand Henry Jame's theory of the novel and to clarify the importance of him as a theorist. He developed many literary techniques through his dozens of works. But it is more important that he is a theorist who established the unique theory of novel through his critical essays. I arranged Jame's early theories, focusing on "The Art of Fiction" that was one of his major essays written in 1884. His main idea was that the purpose of novel was to represent life. The "experience" that James emphasized was composed of characters, impression and consciousness. "Psychological Realism", which is Jame's unique realism, reflected his interests in the inner mind of man. James believed in the capacity of human imagination as the source of creative inspiration and its ability to perceive reality in a manner that is more intense and comprehensive and transform it into a more balanced and orderly ideality. Henry James always insisted on the importance of writer's imagination. Another important imagination in Henry Jame's novel is the character's imagination. It is closely related with the consciousness, the heart of the Jame's literary world. James devised the new form of novel as well as the possibility of representation of mind. At this point, it is said that James was the pioneer of literary criticism. He evoked the trend of the early 20th century.

• The Journal of the Korea Contents Association
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• v.19 no.5
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• pp.163-177
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• 2019

This study is concerned with "fiction" as a new form of writing over the limits of the post-modernist theater/arts. Fiction is not something illusory that demands the audience's empathy but something that unveils form's disinterest in content. Thus, in this paper, I examine a fiction as the opposition of any representational norm and words' old mimesis. Rebutting the crisis of post-modern art and the end of images, philosopher Jacque $Ranci{\grave{e}}re$ mentions the possibility of appropriating similarity in an imitative way by twisting Platonic mimesis. The image of this similarity wanders alongside the loss of signification, unmasking the form's indifference to content. These wandering words represent their own truth "in a way fossils or grooved stones encapsulate histories" as hieroglyphics. This "fiction" as an alternative of post-modernist plays is not any confrontation of reality but the "movement of thinking" that allows the human spirit to play in a way of shaping "some substantiality." In this sense, I examines works by two French writers, $Jo{\ddot{e}}l$ Pommerat (1963~) and Jean-Claude Grumberg (1939~ ) who have carried out their writing practices of appropriating similarity that dissolves any simple "immediate reflection" for non-intermediate relations between the producing and the produced. Their writing is a cross of literary creation and "le politique" as a new aesthetic practice of writing and reveals the movement of thinking, departing from the preexisting concept of fiction.

• The Journal of the Korea Contents Association
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• v.13 no.1
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• pp.91-104
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• 2013

The Rothschild family in the UK and the Rockefeller in the USA installed a number of private organization with which they could exert their influence on the world, recruited world renowned figured and spread out their arguments via global visual media worldwide. Their ultimate goal was to reshuffle the world in a new global order. They attempted to persuade people to accept their messages by reiterating them via their visual media. They deliver their own value of existence, efficiency and future convenience via their visual media regarding politics, economics and religion. If such is seen in a Christian perspective, they replace the place and existence of God with their own power and attempt to reorganize the world in a new global order. Their desire seems to be that of Anti-Christ, i.e. the Satan in the Bible. This study attempts to reveal that reality of visual media is fictitious from the Christian perspective.