TV드라마와 내레이션 -2000년대 미니시리즈 작품을 중심으로-

이다운 한국극예술학회 2013 한국극예술연구 Vol.0 No.41

Narration in TV dramas has existed as an auxiliary device for its simple purpose for long time. However, in recent TV dramas, narration is receiving new attention as a technique to cause various effects. In particular, a series of TV dramas created in the 2000s used the narration in different ways from earlier approaches. This allows for establishing a new relationship between TV drama and narration. In other words, a series of works created in the 2000s are found to have used narration in a strategic way for dramatic and aesthetic effects while holding its identity of drama. This study examines‘how’narration existed in the TV dramas created in the 2000s and‘for what’ they were used, centering on such works as <Age of Love>, <Worlds Within>, <Bittersweet Life>, and <1000 Days>. As a result, it was found that narration played a role beyond just the explanation of a simple information. In such works, narration reinforced dramatic immersion and sympathy by showing the inner side of a disguised character and induced positive participation from viewers by concealing or obscuring information. In addition, narration implemented emotional language that could not be felt in our ordinary lives to expressed emotions or thoughts of a character or was used to request the time of contemplation by asking a question to induce philosophical reasoning. In conclusion, in such works mentioned above, narration is not used for a simple purpose like ‘convenience of narration(representation)’, but rather used as a technique which was strategically used for various dramatic effects. Furthermore, in the works that were recognized as well-made from a considerable number of the works that used narration strategically like <Age of Love>, <Worlds Within>, <Bittersweet Life>, and <1000 Days>, narration, which was used in an effective way, is found to be a technique to add the depth to the works. TV드라마에서 내레이션은 오랜 기간 극적 효과를 위한 장치라기보다 ‘서술(재현)의 편의’와 ‘문학적 정체성’을 위한 보조적 장치로 존재해 왔다. 그런데 최근 TV드라마에서는 내레이션이 다양한 효과를 불러일으키는 기법으로 새롭게 주목받고 있으며, 특히 2000년대에 창작된 일련의 TV드라마에서 이전과 다른 방식으로 내레이션을 사용하면서 TV드라마와 내레이션의 관계가 새롭게 정립되고 있는 상황이다. 즉 2000년대에 창작된 일련의 작품에서는 드라마적 정체성을 보유하면서도 내레이션을 극적․미학적 효과를 창출해 내는 기법으로 사용하는 경향을 찾아볼 수 있다. 2000년대에 창작된 TV드라마 속에서 내레이션이 ‘어떻게’ 존재하며 ‘무엇을 위해’ 사용되고 있는지를 <연애시대>, <그들이 사는 세상>, <달콤한 인생>, <천일의 약속> 등의 작품을 중심으로 살펴본 결과 내레이션이 단순한 정보를 제공하는 해설 이상의 기능을 수행하는 것을 확인할 수 있었다. 이들 작품에서 내레이션은 위장된 등장인물의 은밀한 내면을 제시하여 극적 몰입과 공감을 강화하고, 정보를 은폐하거나 모호하게 제시하여 보는 존재의 능동적 참여를 이끌어내기도 한다. 또한 이들 작품에서 내레이션은 일상적 대사에서는 느낄 수 없는 감각적 언어를 구현하여 인물의 감정과 의식을 표현하거나, 철학적 사유를 이끌어내는 질문 등을 통해 사색의 시간을 요청하는 데 사용되기도 했다. 결론적으로 내레이션을 사용한 2000년대 TV드라마에서는 내레이션이 ‘서술(재현)의 편의’와 같은 단순한 목적으로 사용된 것이 아니며, 다양한 극적 효과를 위해 전략적으로 사용된 기법이라는 것을 확인할 수 있었다. 또한 <연애시대>, <그들이 사는 세상>, <달콤한 인생>, <천일의 약속>등 내레이션을 전략적으로 사용한 작품 중 상당수가 웰메이드로 평가받는 것에서 효과적으로 사용된 내레이션은 작품의 깊이를 더하는 기법이 될 수 있음을 확인하였다.

佛敎敍事의 作話方式과 傳奇小說의 相關性(Ⅰ) - 초기 불교서사의 작화방식를 중심으로 : 佛敎敍事의 作話方式과 傳奇小說의 相關性(Ⅰ)

金鎭榮(김진영) 어문연구학회 2007 어문연구 Vol.53 No.-

This thesis is studied about making story method and meaning of Buddhism narration. First it is examined relation world view of Buddhism and Buddhism narration, and is typed Buddhism narration and examined making story method and character. Then it is studied about a meaning of Buddhism narration. The main contents is summarized as follows. First, the world view of Buddhism worked on the basis of Buddhism narration making story. In the world view of Buddhism, various world put perpendicularly and horizontally with the peak of Sumeru. Within this space, for rebirth by karma, the world view of Buddhism has a transcendence. Therefore a making story method of Buddhism narration is become superior to space time, and appear existence of the Almighty. Second, Buddhism narration is a the beginning narrative literature, so its making story method is very special. Our first narrative is a Buddhism narration well enough. So the Buddhism narration of Samgukusa is analyzed. However these works put a rebirth by Karma to basics, it is structured mysterious events by a person frequented this world and the other world. Especially extended space time unlimited, or examined a hero"s training will, or given a recompense to hero due to cause and effect, or making event premised on aim is a character of Buddhism narration. Third, the making story method of Buddhism narration has a various meaning. Buddhism narration is a discourse edit various world perpendicularly and horizontally. Because of these fabricated factor, Buddhism narration is passed as a mysterious literature or strange literature. So the making story method of Buddhism narration influenced other narrative literature, so it has a synchronic meaning. As well as its making method is succeeded from narrative literature of the end of Silla and the forth of Choseon to a Buddhism classical books of Korea, and a novel of Choseon. So it has a diachronic meaning.

쑤퉁(蘇童)소설에 나타난 규범서사에 대한 저항 고찰

정중석 ( Jung Joong-seck ) 한국중국현대문학학회 2016 中國現代文學 Vol.0 No.78

This paper studied the narration feature of Su-Tong’s novel from the viewpoint of comparing standard narration. Su-Tong fulfilled his own destruction desire and overturn desire in a novel writing, which exposed the subaltern narration, female narration and history narration. In subaltern narration, this paper proved that subaltern was not good, virtuous, honest but crooked, wicked by examining the WuLong of Rice, ChenMao of House of Poppy, delinquent boys of Area of North City, KeYuan of How Can Snake Fly. This paper not only compared them with XiangZi of LaoShe’s novel Camel XiangZi as the standard narration of subaltern but also compared them with Liu ZhenYun’s Days like Chicken Feathers regarding a gloomy future of subaltern. In female narration, this paper not only proved that woman was voluptuous, jealous, vicious, vain by examining the XiaoE of Cosmetics, JinLan of Area of North City but also proved that woman was the existence who relied on man by examining the SongLian of Wives and Concubines, Xian of Lady Life, XiaoE of Cosmetics. Proved that the female image of negative personality was originated from the resistance of Confucian tradition female image such as tenderness, beauty, goodness, maternal affection by examining Tang Dynasty novel Yingying’s Biography. Proved that the female image of reliance existence was originated from the resistance of independent female image in Socialism literature by examining the YangMo’s Song of Youth. In history narration, this paper proved that individual got out of the flow of history by examining the SongLian of Wives and Concubines, XiaoE of Cosmetics, Ms. Jiang of Escape of 1934, ChenMao and Liu ChenCao of House of Poppy, Analects of Confucius of My Emperor Life. Proved that Su-Tong’s history narration was somewhat different from other new-history novel by examining the MoYan’s Red Sorghum, which made the subject of history replace majority with minority. Proved that Su-Tong’s history narration was originated from the resistance of standard history narration in which individual not only coincided exactly with the flow of history but also realized historical value, such as LuXun’s A Madman’s Diary, Medicine and LaoShe’s Camel XiangZi. These aesthetic features of Su-Tong’s novel narration had been accomplished by resisting the standard narration. The existing standard narration was a kind of authority discourse. It could be said that Su-Tong has accomplished his own aesthetic discourse resisting the authority discourse. There were three main field in which he defied the authority discourse. The first was a subaltern narration. The second was a female narration. The third was a history narration.

쑤퉁(蘇童)소설에 나타난 규범서사에 대한 저항 고찰

정중석 한국중국현대문학학회 2016 中國現代文學 Vol.0 No.50

This paper studied the narration feature of Su-Tong’s novel from the viewpoint of comparing standard narration. Su-Tong fulfilled his own destruction desire and overturn desire in a novel writing, which exposed the subaltern narration, female narration and history narration. In subaltern narration, this paper proved that subaltern was not good, virtuous, honest but crooked, wicked by examining the WuLong of Rice, ChenMao of House of Poppy, delinquent boys of Area of North City, KeYuan of How Can Snake Fly. This paper not only compared them with XiangZi of LaoShe’s novel Camel XiangZi as the standard narration of subaltern but also compared them with Liu ZhenYun’s Days like Chicken Feathers regarding a gloomy future of subaltern. In female narration, this paper not only proved that woman was voluptuous, jealous, vicious, vain by examining the XiaoE of Cosmetics, JinLan of Area of North City but also proved that woman was the existence who relied on man by examining the SongLian of Wives and Concubines, Xian of Lady Life, XiaoE of Cosmetics. Proved that the female image of negative personality was originated from the resistance of Confucian tradition female image such as tenderness, beauty, goodness, maternal affection by examining Tang Dynasty novel Yingying’s Biography. Proved that the female image of reliance existence was originated from the resistance of independent female image in Socialism literature by examining the YangMo’s Song of Youth. In history narration, this paper proved that individual got out of the flow of history by examining the SongLian of Wives and Concubines, XiaoE of Cosmetics, Ms. Jiang of Escape of 1934, ChenMao and Liu ChenCao of House of Poppy, Analects of Confucius of My Emperor Life. Proved that Su-Tong’s history narration was somewhat different from other new-history novel by examining the MoYan’s Red Sorghum, which made the subject of history replace majority with minority. Proved that Su-Tong’s history narration was originated from the resistance of standard history narration in which individual not only coincided exactly with the flow of history but also realized historical value, such as LuXun’s A Madman’s Diary, Medicine and LaoShe’s Camel XiangZi. These aesthetic features of Su-Tong’s novel narration had been accomplished by resisting the standard narration. The existing standard narration was a kind of authority discourse. It could be said that Su-Tong has accomplished his own aesthetic discourse resisting the authority discourse. There were three main field in which he defied the authority discourse. The first was a subaltern narration. The second was a female narration. The third was a history narration.

〈디지털서사학〉의 현황과 전망

이용욱(Lee Yong-wook) 한국비평문학회 2008 批評文學 Vol.- No.30

〈Digital narratology〉 can define as “Study that study general narration syntax between various digital narration text that development of a technology that is digital enables.” Computer game, hypertext, web art, digital art etc. are included but 〈Digital narratology〉 studies description action of individual digital narration sieve in digital narration body but there is scientific purpose to clear digital narration sieve general practitioner narration rule advancing step better. In digital narration body writer(writer) as editor(editor) reader(reader) by doer (performer), (reading) to read with (writing) to be bitter is substituted individually by play(play). 〈Digital narratology〉 must examine closely as aesthetic and support whether digital narration grammar is something whether such change occurred why, caused some effect in the narration. 〈Digital narratology〉 relationship low rank area converges in form esthetics enemy of digital narration sieve narration action theory that study ‘Position’, ‘Action’, ‘Mutual understanding’ is, and there is narration genre theory that converge in individual genre of digital narration sieve, and there is variation of story in digital narration sieve, narration text theory that study text sex, network and text sex, network, industrial practical use etc.. mutually. It is part that will see as technology type narration if will see digital narration on description type narration that we overlook and won’t do in 〈Digital narratology〉. Must put barycenter whether talk how to belong to category of 〈Digital narratology〉 this literature or talk seen something. Because that we can suppose computer game or web art by text create story through digital text or hear story or talks doers. Computer game is not literature but because it is narration, is indwelling general narration rule that transcend form.

임권택 영화 <춘향뎐>의 서술(Narration) 양상 연구

서미진 한국문학이론과비평학회 2014 한국문학이론과 비평 Vol.63 No.-

This paper sets on sights on discussing the all-round aspect of narration in ImKwonTaek's film Chunhyandjeon. the film of Im KwonTaek's Chunhyandjeon buildsexperimental and challenging film narration. First, this work has an metalanguagecharacteristics in the whole narration layer through specular reduplication which consistof documentary narration layer and fictional narration being in analogy and duplication. such metalanguage characteristics penetrates the principle of flow-creation and theprinciple of emptiness-fill in ponsori performance. as a result, Chunhyandjeon'smetalanguage converge ideal discourse of ponsori performance. As well the filmChunhyandjeon see through the principle of repetition between tension and relaxation,principle of partial identity in pansori song s tory and the principle of fragmentary,mediating existence in pansori performance into through intertextuality with pansorichunhyanga. Meanwhile, the film Chunhyandjeon builds parametric narration which style leadsplot on the basis of the metalanguage in the whole narration layer and intertextualitywith pansori chunhyanga. the parametric narration of film Chunhyandjeon developsinto correspondence montage that combine aural sense with visual sense rhythmicallyand mis-en scene similar Korean conversation piece such as Kim hongdo's collection,Chung seon's collection and Shin yunbok's collection. In other words, the film Chunhyandjeon completes dialectic narration through whichcorrespondence montage generates image rhythm according with pansori's musicalrhythm. and the film Chunhyandjeon establishes poetic narration through which mis-en scene look like late of Chosun Dynasty conversation pieces from the point of viewstyle of painting and mood that correspondence with the symbolization of pansorimusic. Therefore It could be said that the Im KwonTaek's film Chunhyandjeon developsinto parametric narration aspect. 본 논문은 임권택 영화 <춘향뎐>의 전반적인 서술(Narration) 양상에 대해 논구하는데 목적이 있다. 임권택 감독의 <춘향뎐>은 한국영화사의 일련의 ‘춘향’ 영화들과 달리 고소설 <춘향전>이 아닌 소리예술이자 전통공연예술인 판소리 <춘향가>를원전으로 매우 실험적이며 도전적인 영화 서술을 구축하고 있다는 점에서 주목을요한다. 먼저 영화 <춘향뎐>의 전체 서술층위는 격자형식을 통해 바깥의 다큐적서술층위의 창자의 소리서술과 안쪽의 허구적(디제시스적) 서술층위의 영상서술이유추(類推)와 복사(複寫)의 관계를 이루며 메타성을 띠고 있다는 점이 특징적이다. 이와 같은 메타성은 판소리의 ‘흐름 생성의 원리’와 ‘비움-채움의 원리’에 대한 투시를 통한 ‘이상태’의 판소리 공연양식의 담론에 대한 담론으로 수렴되고 있다. 또한 영화 <춘향뎐>은 판소리 <춘향가>사설과의 구조적 상동성(相同性)을 바탕으로판소리 사설의 ‘긴장과 이완의 반복’ 원리, ‘부분의 독자성(혹은 장면 극대화)’의 원리 그리고 판소리 공연의 ‘부분적․ 매개적 현존’의 원리에 대한 상호텍스트성을 영화 서술에 적극적으로 투시하고 있다. 그리고 서술층위의 메타성과 상호텍스트성을 바탕으로 하여 영화 <춘향뎐>은 스타일이 플롯을 일정하게 리드하는 스타일 중심의 변증적이며 시적인 서술인 매개변수적(Parametric Narration) 서술을 궁극적으로 구축해 나간다. 이러한 매개변수적 서술은 영화의 서술행위의 주체가 되기도하고 어떤 때는 배경음악으로 작용하기도 하는 격자형식 외부 사운드 트랙(soundtrack)의 창자 조상현의 ‘소리’를 서술의 원천으로 하여 구축된다. 요컨대 임권택영화 <춘향뎐>은 판소리의 음악적 리듬과 대등한 영상적(시각적) 리듬을 창출하는대응 몽타주를 통해 그리고 판소리 음악의 시적 의미 작용인 상징성을 탁월하게재현하는 조선후기 풍속화의 화풍(畵風)과 정취(情趣)를 닮은 장면구성(미장센)을통해 스타일 중심의 변증적이며 시적인 매개변수 서술로 나아가고 있다.

현대 일본의 청춘서사 읽기 : 에쿠니 가오리의 『도쿄타워』의 ‘상징’을 중심으로

김주영 韓國外國語大學校 外國學綜合硏究센터 日本硏究所 2011 日本硏究 Vol.48 No.-

Ekuni Kaori is female writer who leads current Japanese literature, and ranges with Yosimoto Banana and Yamada Eimi. The novel 『Between Calm and Passion』(1999) which was co-written with Tsuzi Hitonari, the writer of Akutagawa Prize, became million seller and attracted attention. Ekuni Kaori is a novelist and she shows various appearances of writer of juvenile stories, translator, poet etc. The most noticeable thing of Ekuni’s profile who made debut as a children’s storywriter in 1987 is aspect as a popular narration writer. It is noticeable that Ekuni Kaori awarded Naoki Prize (直木賞/2004), which is the most authoritative in Japanese popular narration. Another thing is the popular attraction that appears in making movies of her four novels. Making films with scenario of a popular narration means that there are lots of aspects of communication with ‘reality’. In this article, the reason that want to see an aspect of current Japan’s narration of youth through 『Tokyo Tower』is due to her literature’s ‘reality (nowness)’. “The saddest scenery in the world is Tokyo Tower in moistened by rain.” this novel started with this beginning is a family narration that is mixed with youth narration, affair narration and symbol narration of Tokyo Tower. Toru and Joji are wandering youth. Their lives are in contrast, however there are common. The main character, college student Toru projected Tokyo Tower in rain which is seen at the apartment living with his mother to his heart as a sad scenery. How do Korean readers read youth narration that is projected a shadow over Tokyo Tower that is the landmark and heart of Tokyo, the world’s big city. This article took note of this, and note to the narration way that is set up in pairs in the style of two youths · two married woman · two couples’ affairs · two empty family, so it is comprehended the emptiness of Japanese people that is suggested by conflict narration and examined the possibility of Japanese popular narration.

박완서 단편소설에 나타난 말하기 서술시점 연구 -삼인칭 인물에 대해 말하기를 중심으로-

박성혜 ( Sung Hye Park ) 겨레어문학회 2013 겨레어문학 Vol.51 No.-

By investigating how so-called ``telling`` point of narration in each of Park, Wan-seo`s short stories is transformed, this research tried to systemize one of traits which Park`s novels` narrative techniques have. Using ``telling`` point of narration is an universal characteristic realized in the whole of Park`s works. Park used two means to use ``telling`` point of narration, which are ``telling about first-person character`` and ``telling about third-person character``. ``Telling about third-person character`` point of narration can be systemized as narration techniques by ``representing as first-person observer`` and ``using narration by third-person character``. ``Representing as first-person observer`` can be compatible with conventional narration by first-person observer that first-person observer narrates story about third-person character. However, it is quite different with narration by first-person observer that narrator is neutral to third-person character(main character). Instead, ``representing as first-person observer`` point of narration shown in Park`s novels has a trait that authoritative narrative self(narrator) narrates story by maintaining his leading position on observing, representing and even judging main character. On top of that, ``using narration by third-person character`` can be compatible with narration by narrator`s viewpoint or character`s viewpoint in light of conventional points of narration. But, that is different with narration by narrator`s viewpoint that narrator narrates characters on omniscient viewpoint. Also, that has different characteristic with narration by character`s viewpoint that one character narrates story on limited perspective. This means that ``using narration by third-person character`` point of narration in Park`s novels has trait that authoritative narrative self(narrator) maintains the narrative position that he observes, represents, and judges not only third-person main character but also other characters. Though it seems that character ``I`` just doesn`t be shown in her works superficially, position of character is still as same as ``representing as first-person observer``.

여말선초의 불교서사와 유교의 관계

김진영 어문연구학회 2013 어문연구 Vol.78 No.-

이 논문은 여말선초 불교서사의 전승양상을 검토한 다음, 불교서사의 전승과 유교의 관계를 문학사적인 측면에서 살펴본 것이다. 첫째, 유교적인 이념이나 강상(綱常)을 담은 불교서사가 여말선초에 집중적으로 전승된 것은 정치나사상적으로 큰 변화가 있었기 때문이다. 이때부터 불교가 지배적인 종교에서 밀리고 신진사대부들이 유교를 앞세워 중세의 통치 질서를 마련하기 시작했다. 이에 불교계에서는 스스로의 입지를 강화하는 치원에서 변화를 모색할 수밖에 없었고, 이것이 불교서사에 유교적인 이념을 담게 된 동인이다. 그렇게 함으로써 불교도 유교와 다르지 않음을 항변하면서 위기상황을 타개하고자 한 것이다. 둘째, 여말선초의 불교서사는 작품집과 단독작품으로 전승되었다. 작품집에는 중단편의 불교서사가 다수 이입되어 있다. 이러한 불교서시는 시대상을 반영하여 유교에서 중시하는 내용을 수렴해 놓았다. 단독작품으로 유전된 것도 모두 유교에서 백행의 근원이라고 여기는 효행을 전면에 내세워 다루었다. 셋째, 여말선초 불교서시는 유학자들이 중시하는 내용을 담고 있어 시대상황에 적절히 대응했음을 알 수 있다. 이는 유교의 득세와 불교의 위기가 불교서사를 발양하는 촉매제가 되었음을 의미하는 것이다. 위기를 극복하기 위해 불교도 유교와 다르지 않음을 불교서사를 통해 항변한 것이라 하겠다. 불교서사에서 우리의 역사는 물론, 유교의 이념이나 강상을 다룬 것도 바로 그러한 사정 때문이다. 이렇게 내용적인 변화를 모색하다가 조선 후기에 들어와 유교를 더 전격적으로 끌어들이면서 불교소설보다는 유교소설적인 특정이 더 강화된 것이라 하겠다. This thesis is studied about transmission aspects of Buddhism narration in the end of the koryo dynasty and early chosun dynasty, and the relationship of Buddhism narration's transmission and Confucianism is considered in terms of history of literature. The main contents are summarized as follows. First, transmission background of Buddhism narration is like that. The Buddhism narration that is contained Confucius ideology or morality is focused in the end of Koryo dynasty and early chosun dynasty. Because this time has some variation of politics or thought. And this time Buddhism is expelled from dominant position, rising nobility pivoted on Confucianism. And with this they made a new ruling order. So in Buddhism they could have changed themselves for their position, this is become the agent that Buddhism narration has Confucius ideology. By so doing, Buddhism protested that they weren't different from Confucianism.. Second, it is considered about transmission aspects of Buddhism narration. First for the transmission, Buddhism narration is distributed various collection of works. In these works, novella and short stories of Buddhism narration are imported. These Buddhism narration reflected the phases of the times, so is came under important contents of Confucianism. Therefore these works are put up the filial behavior that is most important in Confucianism. In the second place, the intervention reason of Confucianism is confirmed in contents of transmission. On investigation of every works, they have Confucian scholar's important contents, so this is right for state of a period. Third, in the end of the koryo dynasty and early chosun dynasty the ruling ideology is changed Confucianism from Buddhism. Such being the case, Buddhism narration is made for their autogenous power. So Confucianism power and Buddhism crisis are become catalyst that Buddhism narration is raised. To overcome a crisis, Buddhism narration protested that Buddhism didn't differ from Confucianism. This being so, it is treated our history and ideology of Confucianism in Buddhism narration. And this means that Buddhism narration would be greatly diversified. Like this way Buddhism narration is seeking of change, they attracted Confucianism electrically more in latter period chosun dynasty. Therefore Buddhism narration has been strength of Confucianism novel's characteristic.

1960년대 한국영화에 나타나는 직접서술의 양상

장우진(Chang Woo Jin) 한국영화학회 2007 영화연구 Vol.0 No.33

This paper deals with two questions; What is the difference between the direct narration in 1960s' Korean films and that in the Western Films? How is the direct narration in 1960s' Korean films related with the Korean oral narrative tradition? Direct narration means direct statement to spectators by a character who is appearing on the screen and staring spectators in the face. It has the same meaning with on-screen narration. In the Western films, especially in Godard's films, direct narration breaks into in the middle of narrative and creates the Brecht's Verfremdung. Verfremdung results from the context of the Western mimetic narrative tradition. Mimetic narrative is accepted under the fundamental agreement that spectators can see what is represented on the screen but the character on screen cannot look at the spectators nor aware of the existence of them. This rule is broken by the direct narration in the Western films We need to look into the direct narration in 1960s' Korean films under the context of Korean cultural tradition based on the orality. From 18th century to at least 1940s, such oral storytelling culture as Pansori, storyteller's storytelling, benshi, disc-storytelling, radio-storytelling was prevalent in Korea, and the Korean spectators were accustomed to enjoying storytelling culture centering around orality. The direct narrations which were appeared at the beginning of the films like A Romantic Papa(1960), Mother and a Guest(1961), and Fine Destiny(1969) resembles Pansori's "choab" or benshi's maesetsu. They create acceptable atmosphere for narratives and induce spectators to respond positively. A Public Cemetery of Wol-ha(1967) resurrects silent film's benshi and his explanation through direct narration and voice-over narration. In Horse-year Bride(1966), a storyteller appears and tells enlightening stories directly. In short while the Western film's mimetic narratives imitate the life itself, diegetic narratives and their direct narration of 1960s' Korean films imitate the sense of Korean traditional oral culture and the experience in this culture.