• The Journal of the Korea Contents Association
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• v.11 no.11
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• pp.111-119
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• 2011

Movie research in the 1980's structuralism looks tendency to escape director or text research and analyze spectator or inspection action. These post-structuralist divert interest by analytic convention of spectators in analysis by director's intention or text type correctly. There is the age that spectator, inspectional action and inspectional subject weighs more than director, work and text itself. But, inspection of movie can be person's enemy by director's narrative strategy or spectator's analytic quality that depend on a text and spectator and their interaction usually, and only method to acquire universality chooses full analytic discourse to principle. We should be structured by symbol system that the event is consisted of movie language to reappear the event through narrative in movie and this symbol system, director's narrative strategy can cause fixed esthetic distance between spectator. Researches to analyze this distance need to keep universal validity as much as being accepted by effort to gap with director and spectator. Therefore, narrative poetry that I analyze movie narration style by 'narrated' and unit of 'narrating' and study the form and function so-called, is going to follow narratology's access method. The consistent argument of this narrative poetry is that story is consisted of the events and these observe to structured thing by unit that is sequence through arrangement with the other event that adjoin in the event. Also, director need consensus with spectator to reappear connection of this event logically and it is thing which this reappearance form can be done characteristic by narrative strategy in directing. I am going to try narrative structure analysis of movie by narrative that is connected at structure of the event and 'narrating-narrative acts' that is interested in way to reappear this story to spectator hereupon. Of course, at process of research, Roland Barthes and his followers wish to apply 'narrative function' and concept of 'narrative acts' that prefer from time to time.

• Journal of the Korean Home Economics Association
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• v.39 no.7
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• pp.71-84
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• 2001

The purpose of this study was to investigate the development of preschoolers'narrative competence. The subject were 60 preschoolers aged 3 through 5 years who were enrolled in the day care center All the subjects were asked to produce a new story. All the story children toad were recorded on audiotape. The data were analyzed Qualitatively and quantitatively using content analysis and the statistical package for Social Science 9.0. The main results of this study were as follows. 1) Significant age difference was observed in preschooler's narrative structure. Older children produced structurally more complex stories containing setting, character, initiating event, attempt and consequence than younger children. 2) Significant age difference was observed in preschooler's narrative length. Older children used significantly more words and sentence when they produced stories than younger children.3) Preschooler'narrative structure was significantly correlated with narrative length.

• International Journal of Contents
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• v.16 no.3
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• pp.51-65
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• 2020

Narratives arouse diverse and rich affective responses to recipients, and this is one of the reasons why narratives are universal and popular. Computational studies on narratives have established a formal model or system of the affective response based on the theory in psychology or media research, and have analyzed or generated a narrative that can evoke a specific affective response. In this paper, we propose a new computational model that can detect the affective response expected to appear in the narrative based on the narrative agent's knowledge. First, we designed a narrative representation model that can elaborately express the event structure and the agent's knowledge as well. Additionally, an analysis method was proposed to detect the three affective responses and the related situational information. Then, we validated the model through a case study about an actual movie narrative. Through the case study, we confirmed that the model captures the affective responses of the audience. The proposed model can be effectively used for the narrative analysis and the creation that must consider the affective responses of the recipient.

• Journal of the Korean Society for Library and Information Science
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• v.51 no.1
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• pp.227-243
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• 2017

This study proposed a structural and semantic framework for the characterization of events and segments in Web videos that permits content-based searches and dynamic video summarization. Although MPEG-7 supports multimedia structural and semantic descriptions, it is not currently suitable for describing multimedia content on the Web. Thus, the proposed metadata framework that was designed considering Web environments provides a thorough yet simple way to describe Web video contents. Precisely, the metadata framework was constructed on the basis of Chatman's narrative theory, three multimedia metadata formats (PBCore, MPEG-7, and TV-Anytime), and social metadata. It consists of event information, eventGroup information, segment information, and video (program) information. This study also discusses how to automatically extract metadata elements including structural and semantic metadata elements from Web videos.

• Journal of the HCI Society of Korea
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• v.9 no.2
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• pp.23-31
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• 2014

A variety of writing support systems focus on the information management or the feature analysis of the commercially successful narrative texts. In these approaches, the reader's role in the narrative creating process is overlooked. During a writing work, an author anticipates the reader's response or expectation to the narrative and he/she organizes the narrative either along or against the prediction about readers. Assessing and controlling the reader's comprehension in the development of events influences the aesthetic quality of the narrative. In this paper, we suggest a writing support system to visualize and adjust the characteristics of a narrative text related to the reader's comprehension, which is theoretically based on the narrative structure model and the event-indexing situation model. Under the development of the support system, we designed an interactive framework to create events as the basic units of story and arrange them onto both story- and discourse-time axes. Using this framework, we analyzed the organization of events about an actual film narrative. We also proposed both the continuity of the situational dimensions and the cognitive complexity as the characteristics to affect the reader's comprehension, hence we devised a method to visualize and evaluate them. This method was applied to the actual film narrative and the result was discussed in the aspect of the features of the narrative and wiring support strategies.

• Journal of English Language & Literature
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• v.56 no.6
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• pp.1091-1103
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• 2010

Absalom, Absalom! is not only about family history but also about the nature of reconstructing history. Faulkner shows us what will happen if we give too much credit to the person having the authority; he first makes us listen to Rosa, so we just listen without doubt until we arrive at the question of the objectivity of her narration, when we get to know Sutpen's design. Meanings of "facts" change depending on who perceives the facts. The incremental repetition of the narrative in the novel resembles the process of our thinking mind and the process of history being constructed. Time is a significant element in determining the meaning of an event, not only because the event cannot be understood without its social, cultural context of the contemporary, but also because only the later events make it possible for the perceiver to categorize it in its proper place in history. Furthermore, through his narrative strategy, Faulkner suggests that imagination play a large part in recreating history. He blurs the distinction between facts and imagination, making us regard Shreve's and Quentin's conjectures as facts in several ways. The conversation between father and son, and the two brothers, which is an imagination constructed through the clues Mr Compson has offered, becomes a fact willingly accepted by the readers as well as Shreve and Quentin. The people in the past, present, and future may be very much unlikely to agree on the same event, because the gap in temporality will keep widening our perceptions. Faulkner demonstrates the nature of history in such a way that we can compare our understanding of the Sutpens' history in the earlier and later part of the novel through repetitions.

• The Korean Journal of Archival Studies
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• no.42
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• pp.287-326
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• 2014

Documenting environmental conflicts will be a priority target for documenting localities, because those conflicts are critical events that make intensive 'place experiences' of local residents. This study is to design a narrative structure for documenting conflicts in the process of Transmission Towers Construction in Miryang. This study begins with analysing the characteristics of environmental conflicts, and draws a conflicts documentation model including basic rules, narrative structure and development process. Basic rules are set up as mixed documentation of memory and evidence, application of 'frame', and dynamic description. Based on the rules, this study suggests a dynamic and open narrative framework adopting the metadata model of ISO 23081. This model is applied to documenting Transmission Towers Construction Conflicts in Mi-ryang. The full narrative and 'frame' of the conflicts are set after analysing development and issues of the conflicts, stakeholder, and properties of each conflict problem. Records descriptions are related to the context(each event occurred in the conflicting conditions, mandates, and stakeholder) descriptions to make multiple narratives in digital environments. Event description contains elements for articulating the 'frame' of each party of the conflict. The merits of this model are; i) to accumulate the adequate context information systematically by adopting dynamic narrative model, and ii) to acquire the new items and connect them to related items easily and consistently through multi-entity description. This documentation model of environmental conflicts may support to shape the collective memory of community, and to achieve good governance by managing conflicts in the process of locating non-preferred facilities with due regard to values and perceptions of residents and communities.

• Trans-
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• v.13
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• pp.141-169
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• 2022

Analysis of narrative texts has been regarded as academically and practically important, and has been made from various perspectives and methods. In this paper, the computational narrative analysis methodology from the perspective of information processing was examined. From the point of view of information processing, the creation and acceptance of narrative is a bidirectional coding process mediated by narrative text, and narrative text can be said to be a multi-layered structured code. In this paper, four methodologies that share this point of view - character network analysis, text mining and sentiment analysis, continuity analysis of event composition, and knowledge analysis of narrative agents - were examined together with cases. Through this, the mechanism and possibility of computational methodology in narrative analysis were confirmed. In conclusion, the significance and side effects of computational narrative analysis were examined, and the necessity of designing a human-computer collaboration model based on the consilience of the humanities and science/technology was discussed. Based on this model, it was argued that aesthetically creative, ethically good, politically progressive, and cognitively sophisticated narratives could be made more effectively.

• The Journal of the Korea Contents Association
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• v.18 no.2
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• pp.652-660
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• 2018

The common point between and is that the immersion was high at the point where all the place movements occurred in the narrative before the full-blown incident occurred. The immersion level showed the maximum at the turning point that passed to the place. Seven key events occur, and the audience's immersion is peaking at the time of each incident. The core event and the immersion are highly correlated. It is at a point where the background, such as movement from the third act, where the most central event is solved, or return to the original place, is changing. The immersion degree of the audience is closely related to the narrative from the first film to the third film of the narrative.

• The Journal of the Korea Contents Association
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• v.13 no.1
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• pp.105-114
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• 2013

The purpose of this paper is to explain the operation and meaning of the narrative, which is one of the main principles for the contents construction, especially focusing on the concepts 'difference' and 'desire'. The classical aesthetic taught us that the differences between diverse characters and reality models are the effective strategy for the reading the story. But this paper focuses on the structural difference of the event (story) and performance (discourse) of narrative, which are regarded as the basic condition of narrative. This difference is to describe in terms of the media theory and psychoanalysis. This paper also seeks to interpret the recent korean film to exemplify that the creation of difference for the fulfillment of desire is the basic element of the narrative constitution.