K-Culture·Story Contents Reasearch Institute最新文献

The Symbolic Meaning of ‘Oni’ in “Demon Slayer”: Focused on Story Balance Model 屠妖记》中 "鬼 "的象征意义：聚焦故事平衡模式

K-Culture·Story Contents Reasearch Institute Pub Date : 2024-01-31 DOI: 10.56659/kcsc.2023.01.4.45

Joo-Ho Choi, Soong-Buem Ahn

{"title":"The Symbolic Meaning of ‘Oni’ in “Demon Slayer”: Focused on Story Balance Model","authors":"Joo-Ho Choi, Soong-Buem Ahn","doi":"10.56659/kcsc.2023.01.4.45","DOIUrl":"https://doi.org/10.56659/kcsc.2023.01.4.45","url":null,"abstract":"The “Demon Slayer” series, including the original manga and anime, has become extremely popular around the world and is one of the most important Japanese contents to emerge since the 2010s. Among them, the manga “Demon Slayer” is the original content of the “Demon Slayer” series and has a high research value as it reveals the theme of the series in the most complete way. This paper aims to analyze the storytelling of “Demon Slayer” to reveal the socio-cultural implications of the work. \u0000The narrative uniqueness of the “Demon Slayer” lies in the ‘Oni’ that appears in the series. In the beginning, ‘Oni’ is depicted as an absolute evil that the protagonist must defeat, but as the work progresses, its character changes in a multilayered manner. The specificity of ‘Oni’ has a great influence on the narrative of the “Demon Slayer”, which is ultimately connected to the thematic consciousness of the work. However, in the current Korean literature, ‘Oni’ has not received much attention compared to its importance. Therefore, this paper aims to analyze the storytelling of the work by focusing on ‘Oni’. \u0000As a methodology for analyzing storytelling, I used Ahn's ‘Story Balance Model’. The story balance model is suitable for analyzing “Demon Slayer” centered on the ‘Oni’ in the following ways. First, unlike traditional narrative analysis methodologies that focus on events or scenes, this methodology analyzes the narrative of a work by focusing on characters. Second, the work is analyzed through the eyes of a villain rather than a protagonist. \u0000The significance of this study is that it analyzes the work by focusing on the ‘Oni’, which have not received much attention in previous studies on “Demon Slayer”, and that it extends the story balance model to a developmental antagonistic narrative with a long story time.","PeriodicalId":488984,"journal":{"name":"K-Culture·Story Contents Reasearch Institute","volume":"53 11","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139590842","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Noriko, The successor to ‘Family as Illusion’: Focusing on the representation of women in Ozu Yasujiro's Noriko Trilogy 纪子，"家庭是幻象 "的继承者：聚焦小津安二郎 "纪子三部曲 "中的女性形象

K-Culture·Story Contents Reasearch Institute Pub Date : 2024-01-31 DOI: 10.56659/kcsc.2023.01.4.27

Kyung-Eun Min

{"title":"Noriko, The successor to ‘Family as Illusion’: Focusing on the representation of women in Ozu Yasujiro's Noriko Trilogy","authors":"Kyung-Eun Min","doi":"10.56659/kcsc.2023.01.4.27","DOIUrl":"https://doi.org/10.56659/kcsc.2023.01.4.27","url":null,"abstract":"In this study, I critically reconsider the issue of how women are represented in Ozu Yasujiro's Noriko Trilogy-Late Spring(1949), Early Summer(1951), Tokyo Story(1953). When Ozu deals with the family community in his films, he deliberately removes the authoritative patriarchy derived from ‘Ie’ system and consciously omits the problems of the past, leaving only the nostalgia of the ‘traditional family.’ At this point, the traditional family can be said to be space as an ‘illusion’, which Japan must recover again after the war and humane warmth exists. In this space, women can only be wives or mothers, not individuals. Moreover, the purpose of education for women was to train the ideology of ‘good-wife and wise-mother’ that fosters the next generation of citizens and supports the husband and family. ‘Modern girl’, who has appeared in Japanese society since the 1920s, conflicts with this ideology. So Ozu represents Noriko as a contradictory figure-a modern girl with traditional values to solve this problem. Noriko seemingly refuses to marry and stands on her own, but she cannot escape the familyhood. In Late Spring, and Early Summer, Her freedom is to the level that society can tolerate, and where she should be is always at ‘home.’ Noriko in Tokyo Story appears to maximize the positivity of the ideal Japanese woman. The family community has been dissolved or already dissolved in the Noriko trilogy. It is Noriko's marriage that resolves the anxiety and conflict that arise here. Although Noriko's current family has been divided, she is incorporated into another patriarchy, maintaining the ‘ideal family’ that Ozu pursues. In this process, ‘individual’ Noriko disappears and only Noriko, the successor of ‘good-wife and wise-mother’, remains in the family.","PeriodicalId":488984,"journal":{"name":"K-Culture·Story Contents Reasearch Institute","volume":"26 8","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139590928","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Case Analysis of Collectible Mobile Game Storytelling Utilizing Multiverse: Through ‘Zaira’ in “” 利用多元宇宙讲述可收藏移动游戏故事的案例分析：通过""中的'Zaira'"

K-Culture·Story Contents Reasearch Institute Pub Date : 2024-01-31 DOI: 10.56659/kcsc.2023.01.4.67

Gyu-Ri Han, Seun-Gje Lee

引用次数: 0

On the conceptual diversity of the line considered through Epicurean Atomism 通过伊壁鸠鲁的原子论探讨线条的概念多样性

K-Culture·Story Contents Reasearch Institute Pub Date : 2024-01-31 DOI: 10.56659/kcsc.2023.01.4.7

Seung-Hak Ji

引用次数: 0

Characteristics of virtual reality cinema through the theory of Vilém Flusser 通过 Vilém Flusser 的理论看虚拟现实电影的特点

K-Culture·Story Contents Reasearch Institute Pub Date : 2024-01-31 DOI: 10.56659/kcsc.2023.01.4.89

In-Seon Jeong

{"title":"Characteristics of virtual reality cinema through the theory of Vilém Flusser","authors":"In-Seon Jeong","doi":"10.56659/kcsc.2023.01.4.89","DOIUrl":"https://doi.org/10.56659/kcsc.2023.01.4.89","url":null,"abstract":"This paper study on the commonalities between today's virtual reality films and the Lumière brothers' films from the late 19th century. This study found two similarities. The first is ‘information overload’ due to the absence of film grammar. This occurs in the process of trying to better understand a new medium to the audience from the perspective of film producers. The second is information overload about novelty. This occurs because of the satisfaction that audiences can gain through new media. \u0000Flusser's communication theory was introduced to understand the two similarities between these early films and virtual reality films. Flusser explained that discursive media and conversational media can be divided, and confirmed that the difference between the two depends on the characteristics of the medium, but also on how the medium is used or how the sender constructs the medium. \u0000In the end, it was confirmed that virtual reality movies have characteristics that are close to the characteristics of a conversational medium, such as interactivity, as an ontological characteristic, and at the same time, they also have the characteristics of a discursive medium due to the characteristics of theater-based films that tell stories. Virtual reality cinema, currently a new form of film, were similar to discursive media due to the characteristics discussed above. In order to overcome this phenomenon and create a grammar unique to virtual reality films, it is necessary to combine these two capabilities rather than emphasizing one of the two characteristics of virtual reality (discursive and conversational). In addition, early films and similarly, it would be a way to solve the phenomenon called ‘information overload’ that appears in virtual reality cinema.","PeriodicalId":488984,"journal":{"name":"K-Culture·Story Contents Reasearch Institute","volume":"34 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139591143","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0