• Archives of design research
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• v.16 no.4
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• pp.375-384
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• 2003

Interactive storytelling is a scenario created "on the fly" with digital content through user interaction. Every time interaction occurs between the user and content, a brand new story is created. Interaction intrigues people because it provides different story from same content. Through conventional media, people shared same content and experience. However through interactive media, people encounter unique experience, over same content possibly everytime they use it. People we, by their nature, very interactive being. However, interacting with media is not an activity that people are accustomed to. Hence, designing content has been all migrating experience from existing media to an unfamiliar ground. Unique and adoptive ways of designing content for digital interactive media is being sought out from the need as the result of the evolution of integrated society and emerging information technology. People are already used to some of interactive storytelling through hyper text in CD-ROM and web sites. More complicated and different structured models were born through games that offered graphics, virtual spaces and interactivity. When drawn onto a structural graph, few attributes and similarities seem to occur. This paper will try to outline and discuss structural graphs of interactive storytelling methods and suggest some ways for better storytelling design.

• Journal of the Korea Society of Computer and Information
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• v.25 no.11
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• pp.67-74
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• 2020

In this paper, we propose to present a storytelling education plan for the development of realistic content. The need is emerging in the content industry for realistic content along with technological convergence as development of media technology. This phenomenon is being accelerated by COVID-19. In 2019, the government set up strategies to secure future growth engines, announced "three major innovation strategies" in the content industry, and emphasized "fostering leading realistic content." Realistic content is a content that users can experience directly. It is first-person storytelling that should be dealt with as important as the development of technology in the production of realistic content. In this paper, the results of storytelling classes conducted at the actual educational site are analyzed, and the difference from the first-person perspective commonly used in traditional literary works is described. Through this, we present effective teaching methods that can be used to develop realistic content.

• International Journal of Contents
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• v.10 no.3
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• pp.55-63
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• 2014

Existing science education that excludes narrative thinking impedes the understanding of the context of workbook content. The object of this research is to develop a storytelling-learning program based on narrative thinking to elevate learners' interest in science and expand their inventive problem-solving abilities. Following an analysis of the current Korean curriculum, eight types of storytelling materials that utilize local content were developed for grades 7-9. The learning program used quest storytelling and was designed such that learning activities such as investigation, discussion, and experimentation were included in the process of solving each quest. Learners experienced an interest in storytelling learning resulting from participation in this storytelling-learning program. Moreover, learners demonstrated inventive problem-solving abilities in the process of completing the stories. During the process of assembling the storytelling materials, the students interacted with enthusiasm and generated ideas. The teachers indicated a positive feedback to the storytelling program as a new attempt to stimulate learners' interests. In the future, with continuous development and application, storytelling-science-learning programs that base science learning on narrative thinking are expected to be successful.

• The Mathematical Education
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• v.52 no.1
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• pp.65-82
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• 2013

This study has to do with storytelling. In this study, analyzed the domestic and international academic literature and scientific papers. The purpose of this study is to provide the meaningful basic material on mathematics education for the development of storytelling lesson model and teaching material. First, we analyze the causes and background storytelling appeared. The psychologists found that the human cognition's structure consists of a narrative system. And, We realize that the problem 'How will attract the attention of the students in math class' will be solved by storytelling. Second, the means of storytelling about the educational value and benefits were discussed in Mathematics Education. The story has a powerful force in the delivery of mathematical content. And, the story has strong power, led to feelings of students receiving transfer mathematical content. Finally, examined the characteristics of the psychology of learning in mathematics education by storytelling. We were studied about internal and external story. And, we studies on storytelling as the mediator, story as the knowledge transfer, story as the problem-solving process, story as the script.

• Journal of Fashion Business
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• v.21 no.4
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• pp.1-20
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• 2017

Fashion film has become a significant communication medium in the $21^{st}$ century. Fashion film, that tells unique quality stories, is a means of communicating brand value emotionally. To examine characteristics of storytelling according to types of fashion film, this study categorizes fashion film and investigates storytelling elements in terms of content, form, and communication. For methodology, a literature review was conducted to examine the concept of storytelling and types of fashion film storytelling. Empirical research was conducted on 32 fashion films from 2007 to recent years of 2017. Results are as follow. First, theatrical fashion film, based on linear narrative structure and closed-ending, is characterized content-based storytelling. Second, avant-garde fashion film, based on unconventional and experimental cinematic techniques, is characterized form-based storytelling. Finally, documentary fashion film that minimizes distortion and reproduces reality of designers' originality, refers to interactive communication-based storytelling which using digital technologies.

• Communications of Mathematical Education
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• v.29 no.3
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• pp.281-300
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• 2015

The purpose of this research is to analyze cognitive demands, answer types, and storytelling types on the basis of mathematical tasks in five different mathematics textbooks based on 2009 revised curriculum in order to suggest directions for the development and use of storytelling mathematics textbooks in school. Results show that first, PNC (Procedures without Connections) task was the largest category in cognitive demands of all mathematical tasks, Low-Level task was larger than others in cognitive demands of mathematical content tasks, and High-Level task was larger than others in cognitive demands of mathematical activity tasks. Second, a short-answer type was the largest category in answer types of all mathematical tasks, the majority of mathematical content tasks were a short-answer type, and the majority of mathematical activity tasks were both short-answer and explanation-answer types. Finally, storytelling connected to real-life was the largest category in storytelling types, and the number of mathematical activity tasks was less than that of mathematical content tasks. However, in the tasks reflected on storytelling, the percentage of mathematical activity tasks was higher than that of mathematical content tasks. Based on the results, while developing storytelling mathematics textbooks and using storytelling textbooks in school, it suggests to consider the need for balance and diversity in cognitive demands, answer types, and storytelling types according to mathematical tasks.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.1
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• pp.139-151
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• 2014

Storytelling contributes to easy flowing of cultural contents, and cultural original materials offer the creative subjects of cultural content. Now, in Korea, thanks to the Korean wave and etc, new kinds of cultural contents are requested and the demand for the original materials of storytelling has been increasing.A 5,000-year-old history, Korean traditional culture is the storage of the original materials of storytelling that can offer the creativity and the competitiveness, which are able to secure the national competitiveness. Particularly, there are different kinds of cultural archetype materials in the wedding ceremony and wedding costumes. This research, thus, is aimed at providing the subject materials for the cultural content development which are various and interesting by developing the original materials of storytelling on the wedding ceremony and wedding costumes during the Joseon dynasty. In the study for the wedding procedures in the late of Joseon Dynasty, the original sources within wedding ceremony created in the process where wedding customs in Joseon Dynasty and China were compromised are suggested. Further, in the research for the original sources on the wedding costumes associated the wedding ceremony, the original source of storytelling which are showed in a nation and an individual in the process where the wedding ceremony symbolizes the most important marriage one of the fomalities performed in one's life is suggested.

• Asia Marketing Journal
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• v.22 no.4
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• pp.47-62
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• 2021

Good storytelling is at the heart of BTS as both a brand and a band. Modern brands know that story is no longer an option, but a requirement for keeping audiences engaged. With their consistent and creative reliance on story, BTS has transformed the K-Pop landscape, providing a framework for others in the industry that relies on open-structure narratives, sincerity, and active audience engagement, among other components. To investigate BTS's storytelling strategies, this article breaks down how stories permeate BTS's content, from music and videos to the Bangtan Universe and documentary films. The importance of transmedia storytelling and participatory audiences is also examined. The analysis resulted in a proposed framework that suggests the following components: 1) story as central to the brand; 2) authenticity and sincerity; 3) idol participation in creative output; 4) use of transmedia storytelling and story gaps; 5) intertextuality and cohesion; 6) opportunities for audience engagement; and 7) dedicated creative staff. Utilizing this framework can help K-Pop groups elevate their brands, better use storytelling elements, and gain larger, more engaged audiences.

• Journal of Digital Convergence
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• v.17 no.1
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• pp.295-300
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• 2019

Modern society is the era of convergence, and storytelling requires the necessity of storytelling in which two types of data types, emotional stories and information, are fused. Particularly, in the case of VR contents, the user must directly participate in the content and select the information through the process of freely searching $360^{\circ}$ space, so that the user can interact with the content immediately. Therefore, there is a limit to access to the existing storytelling method, and it is considered that the implementation of 'convergent storytelling' that meets two areas of sensitivity and information is considered to be an urgent genre. In this paper, we focus on the spatial characteristics of VR contents, and then, as a way to effectively implement 'convergent storytelling' in VR contents, We propose a custom system by organizing the type into a circle structure. Based on this, it is expected that the technology will be developed into a research of a personalized system that meets two areas of emotion and information by utilizing the context recognition process for VR content and interaction in the fourth industrial revolution era.

• Journal of Industrial Convergence
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• v.21 no.8
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• pp.13-21
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• 2023

The purpose of this study was to compare storytelling with TV entertainment programs to find out which elements of web entertainment affected the shift of viewers' interest, and to identify the characteristics of web entertainment storytelling. To this end, each of the web and TV entertainment programs were selected for storytelling analysis, and storytelling analyzed the contents of each item by dividing them into images, backgrounds, stories, and characters. As a result of the analysis, unlike TV programs, web entertainment storytelling allows viewers to immerse themselves in content through a composition that runs directly from the beginning to the crisis, and is characterized by a clear formation in a short video through a clear ending narrative. These research results hope that short-form web entertainment programs produced in the future will be able to identify strategies for viewers' immersion and storytelling strategies.