• The Journal of the Korea Contents Association
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• v.13 no.11
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• pp.451-460
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• 2013

Project to deal with cultural archetype as a material for creation to develop modern one has continued. But it would be meaningless if cultural archetype is simply reproduced into modern one with modern medium so that such contents cannot see through desire that the general public, that is, contemporary recipients want. This is because desire of people who lived in the past is not completely same as one of modern people. This study began to make convergence from Bulgasalee(不可殺伊) as a Korean cultural archetype to cultural contents fit to modern times. To develop creative character based on ground for existing Bulgasalee(不可殺伊), these were investigated - method and meaning of modern transformation for classics, economic value of the character, and examples to understand direction of future development. Bulgasalee(不可殺伊) as a Korean cultural archetype is Korean style monster where wish of contemporary people was reflected so that it has character of anti-war and hero. To eat iron and be related to fire is a unique character that only Bulgasalee(不可殺伊) has. Bulgasalee(不可殺伊) re-born in modern sense based on such characters is equipped with tool to treat iron as arms and to it, image of fireman is reflected. It is thought that this study not only suggested character for successful modern transformation of cultural archetype but also newly developed value that the character has.

• Journal of Distribution Research
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• v.12 no.3
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• pp.1-21
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• 2007

This study introduces 'Free Market' that was recently developed in front of Hongik university. 'Free market', as a place for transactions for art products produced by artists or prospective artists, is held regularly every Saturday in front of Hongik university. This study collected data through in-depth interviews with participants and participant observations at the market to analyze the success factors of 'Free Market'. We described development process, unique characteristics of 'Free Market' and new experiential values that the market provide to the participants. This free market was introduced as roadside stand in the middle of 1990s when some artists started selling their works. It passed through the growth stage after it staged the event that had mixed characteristics of 'flee market' and 'art market' at local festivals in 2001. In 2002 Sin-Chon culture forum directedculture-oriented market and the market has been developed as a current 'Free Market'. Recently 'Free Market' is comprised of steps, artists, and customers who voluntarily participated in the market. The market is held regularly every Saturday and provide various types of programs for the participants. Major characteristics of this free market were summarized as 'complex space' and 'role transition', and these characteristics provided the participants new experiential values such as 'freedom', 'emergent experiences', 'social interaction' and 'hero of festivals' through the participant role. We interpret that 'Free Market' has been successfully settled down as a new type of retail store based on these new experiential values. Therefore, this case provides very useful implications that unique experiential values that a store provides to the customers can be major sources of store competitive advantages.

• Cartoon and Animation Studies
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• s.43
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• pp.77-102
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• 2016

This study is on the variation of characters' role and desire in the series animation. For this study, Greimas Actant Model is used to analyze characters' role and behavior and Maslow's Motivation Theory is used to analyze the changing pattern in their desire. Finally, Joseph Campbell's Monomyth or Hero's Journey is used to analyze the whole narrative through all the series. For this analysis, this study chose series animation as a case, The study shows that the desire of the protagonist of series animation keeps escalating for higher values. On the contrary, the other characters' desire don't show any consistency. This result can be explained with monomyth frame. The escalation of the desire in natural because the whole series is a three consecutive episodes about the story of a person's turning over a new leaf and reunion of the parted family. Also, the escalation is originally plotted by the protagonist's expectation role in monomyth's three steps; self-awareness, accomplishment and ultimate freedom.

• Cartoon and Animation Studies
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• s.35
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• pp.155-180
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• 2014

The roles of the characters of 3D animation Toystory3, which was released in 2010 and achieved worldwide success, can be classified into typical, simple and easy-to-understand roles such as hero, villain, princess, and assistant. However, the process, in which each character's role is finally recognized by the audience, is embodied in a very colorful and exquisite manner and makes the curiosity of the audience continue effectively. The stream of the diverse role changes of the characters of Toystory3 is represented through "visual rhythm of the lighting design" and such rhythm can be confirmed most clearly in the digital colorscript stage. This researcher analyzed the characters' role changes in the work based on Propp's folktale character analysis theory, and extracted the core scenes that lead to inference, doubt, performance, reinforcement by character in order to grasp how the audience gasps major characters' role changes. The visual differences of the lighting design, which the four core scenes of each character show, were represented in graph and analyzed, and the results showed that the changes that one character has constituted rhythmical, visual contrast gradually and the rhythms of each independent character achieve visual contrast and harmony each other like the voice part of polyphony. This researcher calls this "the visual counterpoint of character's changing" and derives the conclusion that a dual visual counterpoint is hidden in the character production of the full-length animation Toystory3. Along with this, this researcher proposes the production of full-length animation that actively utilizes constructive aesthetics.

• Cartoon and Animation Studies
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• s.32
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• pp.23-42
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• 2013

The music videos of and were made based on the music of Pink Floyd and Beatles. This study aims to compare the characteristics of the two songs in terms of music and storytelling method. Previous studies investigated the narrative structure and concept of the storytelling, which are the basis of the images. This study, a comparative study of the two songs, firstly analyzed the narrative structure focusing on the roles and relationships among characters in each song. Secondly, it investigated the method of composition structure and the characteristics of the two pieces of music of which genre is different from each other. Thirdly, it classified the images into intro part, development part, and conclusion part and analyzed by comparison how the song or images inserted in the music interacts with each other. As a result, it was found that described strong progressive rock from the subjective viewpoint through the material storytelling structure by space and it represents the alienation of the hero through simile and metaphor, spatial changes crossing the past and the present, and the actual and non-actual crossover directing. On the other hand, developed a narrative storytelling structure in which progressive fantasy images developed from the psychedelic viewpoint through the confrontation of the good and the bad to deliver the messages of love and peace.

• Journal of Fashion Business
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• v.2 no.3
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• pp.121-136
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• 1998

The purpose of this study was to present a new research method of stage costume by designing and making the stage costume of Yean-GaeSoMoon(淵蓋蘇文) in Peking Opera Du Mu Guan (Korean; Dog Mog Guan, 獨木關). The stage costume of Peking Opera was formed on the basis of the Chinese traditional stage costume in the Qing period, however the style of stage costume was beautified the costume of Ming period and here contained the factors of successive costumes. But the stage costume of Peking Opera didn't have the same rank system with real history costume and didn't have demarcation according to period and history. In the stage costume of Peking Opera, the color is cultural language that can inform spectators of sex, age, personality, position of characters. The pattern of decoration also symboled the personality and characteristic of the character. Yean-GaeSoMoon in the play wore green armour (Chinese; ru ying kao 綠硬靠), red pants (Chinese; hong ku 紅褲), red mustache (Chinese; hong ran kou 紅髥口), crown (Chinese; da e zi 大額子), shoes (Chinese; hou di xue 厚底靴) and Xue RenGui wore white armour (Chinese; baikao 白靠), red pants (Chinese; hong ku 紅褲), shoes (Chinese; hou di xue 厚底靴), hat (Chinese; za jin 扎巾). By historical materials, Yean-GaeSoMoon was a nationalist who uphold national sprit and the greatest hero of the age and a charismatic politician who combines literatural arts with military arts. Considering these reviews, defined the thema of his new costumes' image as "the flying bird which has three legs"(三足鳥), the bird which symbolized the sun and immortality in Koguryo fresco. On the basis of this image, presented three types of Yean-GaeSoMoon's stage costume. Yean-GaeSoMoon as the minister in the court wore black gown (Chinese; mang pao 蟒袍) of dargon pattern which symbolizes harisma who opening the heaven. He as the general who directs war wore red mantle (Chinese; dou peng 斗蓬) which symbolizes the blue dragon that soaring into the sky, as the officer who fights the enemy's general wore green armour (Chinese; gai liang jia 改良甲), red pants (Chinese; hong ku 紅褲) which symbolizes the flying Sward that blowing violently. By wearing these stage costumes, the image of Yean-GaeSoMoon could changed from the fierce general of minority race who likes to fight, to the Koguryo general who fights against enemy at the risk of his life for Koguryo's autonomy. Through this study once again we could realized that stage costume played very mportant part In outstnding the characteristic of actor in the Peking Opera.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.36 no.12B
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• pp.1450-1458
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• 2011

The HPcN (Hybrid & high Performance Convergence Network) in research networks means environment which can provide both computing resource such as supercomputer, cluster and network resource to application researchers in the field of medical, bio, aerospace and e-science. The most representative research network in Korea, KREONET has been developing following technologies through the HERO (Hybrid Networking project for research oriented infrastructure) from 200S. First, we have constructed and deployed a control plane technology which can provide a connection oriented network dynamically. Second, the integrated resource management system technology has been developing for reservation and allocation of both computing and network resources, whenever users want to utilize them. In this paper, a testbed network is presented, which is possible to reserve and allocate network resource using the integrated resource management system. We reserve network resource through GNSI (Grid Network Service Interface) messages between GRS (Global Resource Scheduler) and NRM (Network Resource Manager) and allocate network resource through GUNI (Grid User Network Interface) messages between the NRM (network resource manager) and routers, based on reservation information provided from a user on the web portal. It is confirmed that GUNI interface messages are delivered from the NRM to each router at the starting of reservation time and traffic is transmitted through LSP allocated by the NRM.

• The Journal of the Korea Contents Association
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• v.12 no.6
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• pp.151-159
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• 2012

The purpose of this thesis is to figure out the mechanism that how can be shown the aesthetic distances of novel in the film. At discussion of the view point, novel can be told by two factors which are 'who is teller' and 'who is watcher' but in the film, novel's narration is divided into visual point and auditive point. And I will consider the phenomenon on the part of this difference. Next, I will argue about difference between novel and film from the Park Jongwon's aesthetic distances which interpreted Lee Munyeol's work. This thesis is going to observe that how the film adapted three types of view point and how that related the subject of the original novel. For this thesis, I tried to track 'the distances' between figure and identity, and reader and author. Also I did approach that how can be accepted the problem of 'aesthetic distance according to identity' based on this novel in the film and novel's text by reader. This study make a proposal or analysis to the differences between novels and films in terms of narrative point of view. Although it is shown by dividing into each chapter in novel and on connectivity in film, this paper finds out that both film and novel are shown the subject of reader's difference of the view point about 'author and director's identity'.

• The Journal of the Korea Contents Association
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• v.20 no.1
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• pp.364-377
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• 2020

Although it is never easy to create charming characters that people can relate to, well-formed characters have the power to enable the audience to not only empathize but identify with them. Thus, there is a need for us to examine the parts that make up a well-formed character. According to empathy theory, when the character in the play has a human face that is not different from me, I can feel familiarity and human empathy. Rather than perfection without loopholes, I relate to and sympathize with someone who looks similar to me, with many mistakes and some lack. This study aims to examine the attractiveness of characters in narrative dramas in terms of defects and internal growth. To do this, we tried to compare the setting, evaluation, and performance of characters based on the movie worldviews of two famous brands (DC and Marble), which can be compared directly. I looked at it. In conclusion, the work of hero character but human character setting based on internal growth not only has high evaluation and public evaluation, but also high sales, and thus direct and indirect correlation with the public favorability is significant.

• Journal of Digital Convergence
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• v.15 no.12
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• pp.489-494
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• 2017

In spite of lots of differences in the production process of film animation, the animating method through computer is not much different between game animation and film animation. It is because the principles of film animation are also emphasized for the production of game animation. This study aims to consider the line of action showing the direction of movement and flow of energy among many considerations for the character pose work in case when producing game animation. Starting from the basic theory of drawing, the line of action plays a role of bible in the pose work including cell animation and 3D animation. After examining the theoretical background through preceding researches in order to understand the application of the line of action to the pose work of game characters, the poses of hero characters of a 3D online game 'Over Watch' were collected and then lines were directly drawn to analyze them. And as a result, the pose of characters with simple and clear 'Line of action' was good. This study aimed to consider the expression techniques of character pose in the production of game animation, which is expected to be used as an important reference for game animators at work.