• 한국콘텐츠학회논문지
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• 제17권10호
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• pp.463-471
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• 2017

이야기콘텐츠 창작 시 작동하는 무의식의 세계가 있다. 작가도 모르는 심연의 무의식 층은 전 인류가 연결되어있기 때문에 작가자신도 모르게 공통의 이야기를 만드는 길로 간다. 이렇게 만들어진 이야기가 원형신화고 오늘날 중요저작도구로 사용되고 있다. 이 원형신화가 발견되기 전에 제작된 무성영화 '달세계 여행'의 구조를 분석하면 여전히 원형의 틀을 찾을 수 있다. 이 영화는 동시대 네 작품으로부터 받은 영감을 작가가 직관적 상상으로 제작한 것임에도 원형의 틀이 완벽하게 드러났다. 이점은 신화의 원형이 지역이나 시간과 상관없이 관계하고 있는 것이다. 짧은 시간에 창작된 이야기가 오랜 시간 전승해온 신화와 같은 구조를 가지고 있는 이유는 인간의 집단 무의식속에 이야기의 원형들이 있기 때문이다. 이 원형이 이야기의 길을 결정해준다. 인간의 두뇌가 무한히 자유로운 상상을 하는 것이 아니라 이 원형의 길을 따라서 겉칠을 하며 응용을 하 는 것이다. 좋은 이야기 콘텐츠는 우리의 집단무의식속 원형이 제시하는 길을 가지 않으면 성공할 확률이 줄어든다.

• 한국가구학회지
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• 제19권2호
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• pp.141-150
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• 2008

Exploring on two major questions: 'Why do we feel more love for certain objects?' and 'How can design use this knowledge to realize design sustainability?', this article presents an alternative way of approaching the problem of design sustainability from the perspective that our relationships with design objects are of an extended mode of social relations. Recent discussions on design sustainability have transformed the notion of the problem by seeing it as a problem of our basic perception of design objects and our relationships with them. In this light, I propose that design sustainability could not be achieved solely by approaching from a mechanistic perspective, but by re-framing the way we see and relate things around us and by supporting our changes and actions to move forward a more sustainable notion of our relationships with the objects. As a way to realize design sustainability, I propose that design should involve story-making quality that supports our initiatives to build more affectional relations with objects by seeing the objects as entities of communication that tell stories of us, thus reflect our identities and meanings of our lives. Proceeding on the exploration of the subject, I present some of conceptual outlines in forms of an image diary, an interplay-able furniture unit, and a performance instruction that suggest a way for a special story-making process and thus a stronger emotional tie with the objects.

• 한국CDE학회논문집
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• 제15권6호
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• pp.460-466
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• 2010

These days, it is getting important to have more chances to visit natural environment for the wellbeing life. The advancement of digital technologies allows us to get useful information regardless of time and location. In this paper, we investigate a way of improving user experience in the natural green environment using the digital technologies. This paper proposes a system called Green-UX-Story which supports users to create and share their story through the online and offline green experience. The system consists of two main systems: the "Story-Field" and the "Story-Tree". The Story-Field consists of a certain number of the Story-Trees allocated to a certain green site. In the Story-Field, users can see the Story-Trees that are owned by other users and share their stories. The Story-Tree contains the user-story in each branch and green information that are captured by the user on the web. The Story-Tree is generated using the L-system algorithm as the user adds stories. The main purpose of the system is to enable users to write their green stories from the both online and offline experiences. This paper describes the system configuration and the user scenario of the Green-UX-story.

• 한국콘텐츠학회논문지
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• 제6권11호
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• pp.95-103
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• 2006

컴퓨터 게임이 플레이어의 마음을 움직여 더 몰입되고 호소력 있는 게임이 되려면 스토리텔링이 잘 구성되어야 한다. 스토리텔링에는 여러 요소가 있지만 그 중에서도 플롯(Plot), 즉 스토리의 흐름이 중요하다. 콜 오브 듀티는 스토리의 흐름 측면에서 잘 구성된 게임인데, 본 논문에서는 이 게임에서 전통적인 스토리 흐름 이론이 적용된 방식과 변형 적용된 방식을 분석하였다. 이를 근거로 하여 컴퓨터 게임에 전통적인 스토리 흐름이 적용될 수 있는 방식에 대하여 설명하였다.

• 아동학회지
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• 제24권5호
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• pp.15-26
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• 2003

In this study of children's story comprehension, 157 first grade students were randomly selected from 2 elementary schools. Based on their test scores on standardized reading comprehension test, 36 children in the upper and in the lower 25th percentiles were assigned to either a high or a low reading group. Children of both groups read the same story presented either by CD-ROM or by printed-book. Story comprehension was measured by retelling the story and by questions on comprehension. Data were analyzed by 2-way ANOVA. Results showed significantly higher comprehension scores in CD-Rom compared with the printed-book group. The difference in comprehension scores between the CD-ROM and the printed-book groups was greater than in the low reading group compared with the high reading group.

• 아동학회지
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• 제28권2호
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• pp.39-53
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• 2007

This study investigated the relationship between young children's comprehension and story making(narrative) by age and gender. Subjects were 109 3-, 4-, and 5-year-olds at two child care centers in K Province. Data were analyzed by two-way ANOVA and simple regression analysis. Results showed differences in comprehension between 3-, 4- and 5-year old children and differences in story making ability between 3- and 5-year-old children. Children's comprehension and story making had positive relationships. Specifically, there were significant relationships with children's comprehension and story construct concept, sentence structure level, language(vocabulary and sentence structure). In sum, the results of this study reveal that young children's comprehension ability is partially related to story making ability by age.

• 한국콘텐츠학회논문지
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• 제16권8호
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• pp.217-227
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• 2016

본 연구는 울산광역시 울주군이 시행하고 있는 특성화마을 만들기 사업의 성공가능성을 높이기 위해 지역의 이야기 자원을 이용한 스토리텔링 기반의 경관색채계획에 대한 제언이다. 어음하리마을 특성화마을 만들기 사업은 울산에서는 처음이며, 어음하리 마을의 자원에다가 지역의 이야기를 부여해 스토리텔링 거리로 탈바꿈시키고자 구체적인 사업계획을 진행 중이다. 울주군은 이들 마을을 정비해 관광객 유치 및 지역 경제 활성화에 큰 도움이 될 것이라고 기대하고 있다. 이처럼 스토리텔링을 이용한 지역 마케팅이 최근 지역개발의 한계를 극복할 수 있는 바람직한 방법으로 활용되고 있으며, 이는 경관색채계획의 새로운 가능성을 제시하고 있다. 따라서 어음하리마을의 풍토색을 토대로 이야기 자원에서 브랜드스토리를 추출하고 이를 색채계획에 적용하여 마을 단위의 개성적인 색채 아이덴티티를 만들어내고자 하였다. 이는 현재 지자체 별로 시행하고 있는 대규모 정비에 의한 색채계획에서 탈피하여 색채가 지역 아이덴티티 확립과 더불어 지역활성화 수단으로 활용할 수 있는 가치를 발견하는 하나의 방향이 될 수 있다는 점에서 연구 의의가 있다.

• International Journal of Advanced Culture Technology
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• 제12권3호
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• pp.388-395
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• 2024

The current state of the domestic game industry is that most of the sales generated in the domestic game industry occur on PC and mobile, and the genre is limited to RPG, so games of similar genres are repeatedly released to increase sales. To solve this situation, games using IP are being discussed, and games based on webtoon and animation IP are being released. In this way, we would like to analyze and consider ways to utilize IP well and success factors focusing on "Digimon Story Cyber Sleuth."

• International Journal of Advanced Culture Technology
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• 제8권4호
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• pp.58-63
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• 2020

In literature it is not only the meaning of words which matters, but also their texture matters i.e. their rhythm, colour and style are relevant and none of these natures can be reduced to an item of information. The texture is also important in film languages, especially the rhythm. In order to make the storytelling rhythm visible, a new concept of 'the Rhythm Chart Analysis Method (RCAM)' has been devised in this research and used for analysis. By analyzing original films and remakes in Korean and Chinese, one can find out that different countries have different storytelling rhythms i.e. the same story can be told in different rhythms. The central idea in Korean films is portrayed at the end, which is a typical characteristic of Korean films. And as the defining moment does not occur suddenly the audience can naturally get immersed into the story. But Chinese films communicate with the audience in a more direct way. It directly mentions characteristics of each actor in such a way that it is telling rather than showing. The information of the movie is given to the audience in the initial stages of the movie. Rhythm is as important as story and information. And through this we can find out the cultural differences from the different storytelling rhythms.

• 영미문화
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• 제18권1호
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• pp.1-21
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• 2018

In Woman Watches over the World, Linda Hogan explores the broken identity of herself and her family, the issue of the poverty and the identity crisis, the alcoholism, prevalent in the Native American community and their silenced history. Previous studies have claimed that her memoir contributes to the restoration of Native American identity and history by accusing the violence of white culture, and seeks to recognize a dialogue between native culture and white mainstream culture as well. However they seem to overlook the complicated relations among story, identity, body and nature, to which Hogan as a multi-binded storyteller resorts as a way to break the silence of herself and her tribe for healing. Her own story, as a way to break the silence, becomes the formative drive to reveal the silenced history of her own tribe to lead the young generation to the future. She also understands the formative function of the story, which becomes the vehicle for embodying and connecting themselves to nature. To her, healing lies in the restoration of sympathetic relationship with nature. History, as a type of story, can be made up or mistold just like a story. There may be a blind spot where one can not assess what is true. In spite of the vision of the parallel worlds of the two cultures she presents, there seems to be no immediate solution to the discrimination against the Native American, poverty, identity crisis, and environmental problems which the Native American community faces. However, it can be said that her memoir serves as a rudder by presenting a direction to not only the Native American but also to readers in other cultures in its quest for practical possibilities for the future.