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    A Study on Gameplay Narrative of Contemporary Animated Films

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    https://www.riss.kr/link?id=A106287324

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    다국어 초록 (Multilingual Abstract) kakao i 다국어 번역

    Gameplay exists not only in game activities, but also in other art forms. An animated film with strong gameplay whose gameplay narrative follows the presupposition principle, achieved through unimaginable sound effects, exaggerated visual styling, hypothetical time and space concepts, fictional storylines and character performances. The strength or the presence or absence of gameplay in animated films is reflected in the grasp and use of these gameplay elements in the process of animated film narratives. The gameplay narrative of animated films fully utilizes the characteristics of gameplay thinking. In the process of scriptwriting and narrative, it combines entertainment, action, adventure, competition and other elements to fully reflect the characteristics of “gameplay”. Gameplay narratives often use the strategies of reverse setting, repetition and interaction, and rules and challenges setting, which not only enhances the fun of animated film narratives, but also attracts the attention of the audience, which then can enhance the audience's viewing experience.
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    Gameplay exists not only in game activities, but also in other art forms. An animated film with strong gameplay whose gameplay narrative follows the presupposition principle, achieved through unimaginable sound effects, exaggerated visual styling, hyp...

    Gameplay exists not only in game activities, but also in other art forms. An animated film with strong gameplay whose gameplay narrative follows the presupposition principle, achieved through unimaginable sound effects, exaggerated visual styling, hypothetical time and space concepts, fictional storylines and character performances. The strength or the presence or absence of gameplay in animated films is reflected in the grasp and use of these gameplay elements in the process of animated film narratives. The gameplay narrative of animated films fully utilizes the characteristics of gameplay thinking. In the process of scriptwriting and narrative, it combines entertainment, action, adventure, competition and other elements to fully reflect the characteristics of “gameplay”. Gameplay narratives often use the strategies of reverse setting, repetition and interaction, and rules and challenges setting, which not only enhances the fun of animated film narratives, but also attracts the attention of the audience, which then can enhance the audience's viewing experience.

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    참고문헌 (Reference)

    1 송은아, "성공적인 지역축제를 위한 스토리텔링의 도입– 산수유 축제를 중심으로 -" 한국엔터테인먼트산업학회 11 (11): 37-46, 2017

    2 어일선, "기록영화의 리얼리즘과 허구성 연구 : 영화 <안창남 비행사> 분석" 한국엔터테인먼트산업학회 11 (11): 111-120, 2017

    3 Hans-Georg Gadamer, "Wahrheit und Methode" Commercial Press 145-, 2010

    4 진건파, "To Recognize the Whole Through the Observation of the Part, the Analysis of Animated Films’ Narrative of China and Korea - A Case Study of Leafie: A Hen into the Wild (Korea) and Little Door Gods (China) -" 한국엔터테인먼트산업학회 11 (11): 47-56, 2017

    5 Konrad Lange, "The essence of art" Fudan University press 622-, 1990

    6 Jia Leilei, "The Function and Form of “Commercial Fiction” in Image Language" Film communication 41-, 2000

    7 유연, "The Analysis of Story Creation of Animated Film Coco" 한국엔터테인먼트산업학회 12 (12): 35-42, 2018

    8 Song Suli, "On the Gameplay of Image Narration" Contemporary Cinema 116-122, 2008

    9 Gao Jinyan, "On the Gameplay of Chinese Animation Narration" Contemporary Cinema 106-110, 2018

    10 Johan Huizinga, "Homo Ludens" China Academy of Art Press 1-, 1996

    1 송은아, "성공적인 지역축제를 위한 스토리텔링의 도입– 산수유 축제를 중심으로 -" 한국엔터테인먼트산업학회 11 (11): 37-46, 2017

    2 어일선, "기록영화의 리얼리즘과 허구성 연구 : 영화 <안창남 비행사> 분석" 한국엔터테인먼트산업학회 11 (11): 111-120, 2017

    3 Hans-Georg Gadamer, "Wahrheit und Methode" Commercial Press 145-, 2010

    4 진건파, "To Recognize the Whole Through the Observation of the Part, the Analysis of Animated Films’ Narrative of China and Korea - A Case Study of Leafie: A Hen into the Wild (Korea) and Little Door Gods (China) -" 한국엔터테인먼트산업학회 11 (11): 47-56, 2017

    5 Konrad Lange, "The essence of art" Fudan University press 622-, 1990

    6 Jia Leilei, "The Function and Form of “Commercial Fiction” in Image Language" Film communication 41-, 2000

    7 유연, "The Analysis of Story Creation of Animated Film Coco" 한국엔터테인먼트산업학회 12 (12): 35-42, 2018

    8 Song Suli, "On the Gameplay of Image Narration" Contemporary Cinema 116-122, 2008

    9 Gao Jinyan, "On the Gameplay of Chinese Animation Narration" Contemporary Cinema 106-110, 2018

    10 Johan Huizinga, "Homo Ludens" China Academy of Art Press 1-, 1996

    11 Liu Yan, "General discussion of children's games" Beijing Normal University Press 248-, 2008

    12 Jiang Meng, "Gameplay Research on Contemporary Hollywood Animated Films" Nanjing Normal University 2013

    13 Lee R. Bobker, "Elements of Film" China Film Publishing House 1994

    14 Huang Shi, "Digital game planning" Tsinghua University Press 7-, 2008

    15 Wang Zheng, "Comparison of film and game image elements" 2006

    16 Wikipedia, "Coco"

    17 Dong Chongcao, "Art and games" People's Publishing House 92-95, 2004

    18 Sun Shuping, "An Analysis of the Gameplay Narrative of Contemporary Hollywood Film and TV Animation" 84-85, 2019

    19 Wang Lingjuan, "A Probe into the Gameplay Narrative Strategy of Hollywood Animated Films" 79-81, 2016

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    학술지 이력

    학술지 이력
    연월일 이력구분 이력상세 등재구분
    2022 평가 재인증평가 신청대상 (재인증)
    2019-01-01 등재 등재학술지 유지 (계속평가) KCI등재
    2016-01-01 등재 등재학술지 선정 (계속평가) KCI등재
    2015-01-01 등재 등재후보학술지 유지 (계속평가) KCI등재후보
    2013-01-01 등재 등재후보학술지 유지 (기타) KCI등재후보
    2012-01-01 등재 등재후보 1차 PASS (등재후보1차) KCI등재후보
    2010-01-01 등재 등재후보학술지 선정 (신규평가) KCI등재후보
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    기준연도 WOS-KCI 통합IF(2년) KCIF(2년) KCIF(3년)
    2016 0.79 0.79 0.72
    KCIF(4년) KCIF(5년) 중심성지수(3년) 즉시성지수
    0.7 0.67 0.781 0.27
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