게임 서사와 영상 매체의 결합 가능성

장성규(Jang, Sung-kyu) 건국대학교 스토리앤이미지텔링연구소 2016 스토리&이미지텔링 Vol.12 No.-

본 논문은 장선우 감독의 영화 「성냥팔이 소녀의 재림」을 중심으로 게임 서사와 영상 매체가 결합하는 과정에서 사용되는 다양한 기법적 실험 양상을 고찰하는 것을 목적으로 한다. 이 텍스트는 이질적인 매체인 게임 서사와 영상 매체를 결합시키는 과정에서 각각의 고유한 매체적 특성을 살리기 위한 독특한 실험을 수행하고 있다는 점에서 주목된다. 이들 미학적 실험 전략은 크게 세 가지로 나누어 살펴볼 수 있다. 첫째, 이 텍스트는 게임 서사가 지니는 비선형적 성격을 재현하기 위해 영상 매체를 게임 내부 서사와 게임 외부 서사의 두 겹 이야기 구조로 설정했다. 그 결과 일반적인 영상 매체에서 재현 불가능한 게임 서사를 텍스트의 속 이야기 층위에서 구현하는 것에 성공할 수 있었다. 둘째, 게임 서사의 캐릭터 재현 과정에서 영상 매체가 지니는 특성을 활용하여 직접적인 이미지 제시를 통해 캐릭터를 구현하는 전략을 사용했다. 영상 매체는 시각적 이미지 재현에 특화된 성격을 지니며, 이를 적절히 활용함으로써 게임 서사의 캐릭터 특성을 생생하게 재현할 수 있었다. 셋째, ‘나비’ 이미지 등 도교적, 불교적 사유의 시각적 재현을 통해 텍스트의 주제 의식을 환기시키는 특성을 보여준다. 이는 관념적인 사유를 이미지 스토리 텔링을 통해 구체화시켜 제시하기 위한 중요한 실험이라는 점에서 주목된다. 이와 같이 장선우 감독의 영화 「성냥팔이 소녀의 재림」은 게임 서사와 영상매체라는 이질적인 매체를 독특한 실험을 통해 결합시키고 있다는 점에서 선구적인 뉴미디어 텍스트로 평가할 수 있을 것이다. This research aimed at investigating various technical experimental aspects in the process of combining game narrative and film media mainly with the director Jang, seonwoo’s film <Resurrection of the Little Match Girl>. This text is remarkable in respect of performing a unique test to raise the original medium characteristic of each in the process of combining game narrative and film medium, which are different media each other. These esthetic experimental strategy can be largely divided into three. First, this text set the image medium into dual story structure of internal game narrative and external game narrative in order to realize the nonlinear characteristic of game narrative. As the result, this research could succeed in realizing the game narrative impossible in reproducing in general film medium in the story layer in the text. Second, this research utilized a strategy to realize the character through direct image suggestion utilizing the image medium in the process of realization of game narrative character. Film medium has a characteristic specialized in the visual image realization, by properly utilizing this. Third, this research shows a characteristic to air out the subject consciousness of the text through the visual expression of Taoistic, Buddhistic thinking as ‘butterfly’ image, etc. This is remarkable in respect that it is an important experiment to concretize and suggest the ideological thinking through image storytelling. This way, director Jang, seonwoo’s film <Resurrection of the Little Match Girl> can be evaluated as an advanced new media text, in respect of combining the different media, game narrative and film medium through the unique experiment.

좌절된 혁명의 기억 -4.19의 호명과 환타지 미학-

장성규 ( Sung-kyu Jang ) 한민족문화학회 2016 한민족문화연구 Vol.54 No.-

It is true that the study on novel text which gave 4;19 a shape is absolutely deficient comparing to its historical status in Korean modern history. One of the reasons would be considered as due to approaching to this subject from the view point of material stratum about 4;19. But if we consider that the modern novel has desire for fantasy as strong as the desire of mimesis, on the contrary, positively analyzing the aspect of fantasy expressed as a sign in the text and extracting the aesthetic strategy from it could be more practical approach. The fantasy is not a simple element of miraculous or strange material stratum, but it functions as a expressing mechanism of a political unconsciousness and a method of epistemological skepticism on ruling reality. This study analyzed texts classifying them as aspects of an addition, deletion and contrasting of the fantastic elements to examine these aesthetic function. The ‥addition… performs the function to face at those omitted in the structure of general cognition. We could take Choi Inhoon as a representative writer who belongs to this, his texts 「Voice of Juseok」, 「Voice of Governor」, 「Diary of Yeolha」 etc. use the fantasy as a aesthetic method to investigate the meaning of 4ㆍ19 in synchronic and diachronic aspects. The ``deletion`` functions as a motif to make conventionalized reality recognized as new one. The representative works belong to this could be 「Whansangji」 written by Lee Jeha and 「Chimney and Ceiling」 by Oh Takbeon, these texts call the memory of the frustrated revolution by 5ㆍ16 and show aesthetic performance which gives the reality of military dictatorship period a crack. The ``contrast`` performs a function which makes ruling reality looks strange. The representative works belong to this could be 「legs of hallucination」 by Lee Earyeong and 「Who are you」 by Nam Jeonghyun etc., each of these texts performs introspection on the meaning of the revolution through manifestation of mutual text and critique on ``contemporary``. We could not consider lightly the performance of texts which call the memory of the frustrated revolution through the various fantasy aesthetics, even if we do not take 4ㆍ19 as a direct material. Particularly these texts has its meaning in the literary history in the point that each of them gives a meaning of 4ㆍ19 a shape in the aesthetic stratum in different ways, instead of putting an end to 4ㆍ19 at the point of simply reflecting it as a temporary event.

김남천의 발자크 수용과 관찰무학론의 문학사적 의미

장성규 ( Sung Kyu Jang ) 한국비교문학회 2008 비교문학 Vol.45 No.-

6ㆍ25전쟁기 한국공군의 성장과 미 공군 제6146부대의 지원

장성규(Jang, Sung-kyu) 국방부 군사편찬연구소 2010 군사 Vol.- No.75

2000년대 이후 한국문학에 나타난 가족로망스의 변화 양상 연구

장성규(Jang Sung Kyu) 가톨릭대학교(성심교정) 인간학연구소 2018 인간연구 Vol.0 No.36

This research aimed to investigate the family romance in Korean literature since the 2000s. In the case of the western family romance, the main plot is essentially the inclusion in family through the escape from the father and return to the family. This appeared as a narration of the entry into the world of a super-egoistic standard, symbolized by the father, out of the world of the child’s unconscious desire. On the contrary, Korean literature shows different characteristics. For example, during the colonial era, orphans and concubines’ children frequently appeared, while during the era of liberation and April 19th, family romance composed of brotherhood appeared frequently. This aspect has become more intense since the 2000s. This research has largely divided this aspect into three characteristics. First, impulses to murder the patriarch occurred frequently and intensively, particularly. In Hwang Byeongseung and Kim Sagwa’s works, which can be interpreted as the refusal of the patriarchy and, to the existing artistic standard. Second, an embodiment of the maternal family, connected between mother and daughter, instead of father and son, appeared. Such a tendency appeared in Kim Seonwoo and Kim Aeran’s works, and it is important to restoring the voices of thoses excluded from the existing patriarchal family system. Third, a search for an alternative family type appeared, and there was not return to the existing family type. A special family type, not based on blood relation, appeared in Ha Jongo, Son Honggyu, and Choi Jinyoung’s works, which can be evaluated as a significant phenomenon in terms of searching for a family concept as a frame of the solidarity of minorities that newly appeared in a neoliberal social organization. This way, Korean literature shows abundant aspects of a unique family romance, different from the classical family romance of the west. Particularly, the aspect of the family romance in Korean literature since the 2000s is significant in terms of criticizing the violence of the patriarchal system, restoring suppressed members’ voices due to the patriarchal system, and searching for an alternative family type.

차원축소를 이용한 플라즈마 식각 공정의 비행시간 질량분석 데이터 해석

장성규(Sung Kyu Jang),최가인(Ga in Choi),김지훈(Ji Hun Kim),최종현(Jong Hyun Choi),김선길(Sun Gil Kim),이우성(Woosung Lee),김형근(Hyeongkeun Kim) 대한기계학회 2024 대한기계학회 춘추학술대회 Vol.2024 No.11

식민지 시대 소설과 비문해자들의 문학사

장성규(Sung Kyu Jang) 한국현대소설학회 2014 현대소설연구 Vol.- No.56

This study aims to extract clues to describe the literary history of illiterates, and to pose the publicness of literature and democracy of writing. To achieve this, first, we considered the process of the rank order of characters due to the formation process of modern literature. In sequence, we tried to figure a strategy of illiterate discourse in text of the novels. And we tried to suggest the concept of literature as a field of redistribution of knowledge based on this. The grammar of modern novels was formed by Kim Dong-in and the others in early 1920s. However, this process left the problem of fixing the rank order of characters in the order of English, Japanese, Korean character. It resulted that a small number of intellectual, cultural elites were settled as literary subject exlusively. Hyun Jin-geon``s novel A society that recommends liquor shows this situation plainly. This work shows how modern ``rules of art`` expeled illiterates who had not cognition of English word ``society`` or Japanese-translated word ``syakai``(社會) from the field of literature concretely. On the other hand, illiterates were able to fill their voices in texts through their unique strategy of discourse. These were appropriation of elite dicourse, borrowing the forms of non-literal mode and adoption of non-fiction and fantasy. For example, No-Ga-Ba (changing lyrics of popular songs) was described in Kim Nam-cheon``s Literary club, and appropriation of traditional genre and mass cultural texts appeared in Lee Gi-young``s Homeland. Literary history of illiterates is able to be described by restoration of their culture that redistrbutes knowledge ultimately. In this context Choi Seo-hae``s The period of extra editions has important meaning. The process of redistrbuting of intellctual capital by a former-illiterate who acquire intellectual capital particulary, was described in this text. Lee Gi-young``s Dong-cheon-hong(東天紅) was paid attention to, because this text emphasized the night school as autonomous intellectual-community which was not captured by dichotomy between Korean and Japanese. Characters and literatures were not exclusive property of specific class, but common property of humankind. This is be able to be explained through ``the publicness of literature`` and ``democracy of writing``. Clues which is collected in this study might be able to be used to find ``other`` literature as above.

신체제기 소설의 “경성” 형상화와 “주변부” 인식

장성규(Sung Kyu Jang) 한국현대소설학회 2013 현대소설연구 Vol.- No.52

This study aims to considerate figurations of ``Kei-jo``(Seoul) which appeared in fictions in the period of colonial ``New System`` and to investigate cognition of writers of that time about ``marginal areas`` of Kei-jo. Previous studies about this theme, focused on modernity of the core of Kei-jo and overlook daily-life in marginal area relatively. Based on this critical mind, this study tries to cast light upon fictions of Yoo Jin-o, Park Tae-won and Hyun Deok. Yoo Jin-o regarded Ma-po area nostalgic space, as the core of Kei-jo exposed itself as visible colonial power. However, Ma-po being recostructed as an industrial complex, his nostalgia was damaged. And it was connected with his critical awareness against colonial ``New System``. Meanwhile Park Tae-won moved his modernological research about the core of Kei-jo to A-hyun area in “Ae-yok”(Love and Lust). This helped him recognize daily-life in marginal area and achieve his unique colonial modernology. Hyun Deok described a life of the poor in Chung-ryang-li area who was direct victims of Kei-jo land development program. Moreover it is worthy of notice that he caught the features of ``The colonial gray zone`` in this area. As above, these fictions in this period restored various aspects in marginal areas of Kei-jo which was different from that of Kei-jo as a colonial center. Especially, it should be emphasized that these fictions caught daily-life in marginal area and features of ``The colonial gray zone``.

학교 안전역량 강화를 위한 안전교육 혁신 방안

장성규(Sung Kyu Jang),이재은(Jae Eun Lee) 위기관리 이론과 실천 2024 Crisisonomy Vol.20 No.5

넷플릭스 콘텐츠에 나타난 ‘북한’ 표상 연구

장성규(Jang, Sung-kyu) 건국대학교 스토리앤이미지텔링연구소 2024 스토리&이미지텔링 Vol.28 No.-

This study attempted to extract the geopolitical specificity of the so-called ‘K-content’ by analyzing the representation of ‘North Korea’ in Netflix’s original content (Korea). As a result of the analysis, the following points were confirmed. As the episode of ‘Bulkogi Ghost Story’ in <D.P>, the representation of North Korea reproduced based on the past Cold War ideology evokes the reality of absolute ‘evil’ and functions as a device to conceal the contradiction of South Korean society. On the other hand, Netflix original contents, which have been successful in box office worldwide in recent years, show a pattern of representation of North Korea being reproduced in a wide variety of ways. First, a new stereotype tends to appear as a blank space in the narrative. Second, a new female character emerges to evangelize the existing mainstream gender role. Third, the possibility of solidarity between minorities in the two Koreas as a ‘refugee’ is raised. These trends are important not only to show the world’s public perception of North Korea at present, but also to raise rich questions about the direction of ‘K-content’ based on the geopolitical specificity of the Korean Peninsula in the future.