지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
Because of the popularity of many cyber novels, many books, dramas, and films have been made of them. They have succeeded in a box-office record. My research want to study the aspects of storytelling in adapted films of cyber novels in the early 2000's.
First, the characters of the films show the desires of the N-generation to attain satisfaction and relaxation by Cinderella complex and Narcissism. But the films are transformation of Cinderella complex because ordinary heroines fall in with handsome heros but heroes are not princes and the rich but tough guy and a boss in a fight. This romances reveal desires of the young female -that they want to be admitted their own ordinary values and that they want to reflex their desires of seeking relaxation/freedom in stress and oppression. And heroes' Narcissism are self-exposure and self-satisfaction in situation of distrust and lack of communication, and heroes become to be changed from the subject-love(=the self-love) to the object-love because the heroines heal the hurt souls(=the heroes) and communicate with them.
Second, the plots of the films reveal a sense of solidarity of the N-generation by episode-frameworks and emoticons. Features of cyber novels -the interaction, the nameless, the unlinearness and the imageness-are very rare for adopted films of cyber novels. These unlinear structure of cyber novels influence on digital thinking, a loose plot, episode-framework and parody of adopted films, but comic moods and multiple structures of cyber novels change into melodramatic moods and single liner structures. And emoticon and slang of the films show the new sense of solidarity of the N-generation-that is the multimedia-generation and the image-generation-in view of the oral language, the secret language, the acronym and the emotional sign.
Third, the themes show the multiple-character and connection-culture, and the violence and the deviation of the characters reveal the N-generation's desires. The cyber-culture and connection-culture through the ID and the avatar have the multiple-subjects-the real 'I' and another 'I'-for the digitalization-identification, and they have the negation-thinking about the ruling ideology to intend to disorganize the totalization and the family-principle. And the heros' the violence and the deviation show the N-generation's desires for escaping from social oppression and confused identity.
The storytelling of the films-that are adapted from cyber novels-shows the culture and the desire of the N-generation audience through the dissolution, the disorganization and the deviation. The characters, the plots and the themes of the films reflect cultural feature of N-generation in respect of new identity, confusion of identity, disorder and diversification.
First, the characters of the films show the desires of the N-generation to attain satisfaction and relaxation by Cinderella complex and Narcissism. But the films are transformation of Cinderella complex because ordinary heroines fall in with handsome heros but heroes are not princes and the rich but tough guy and a boss in a fight. This romances reveal desires of the young female -that they want to be admitted their own ordinary values and that they want to reflex their desires of seeking relaxation/freedom in stress and oppression. And heroes' Narcissism are self-exposure and self-satisfaction in situation of distrust and lack of communication, and heroes become to be changed from the subject-love(=the self-love) to the object-love because the heroines heal the hurt souls(=the heroes) and communicate with them.
Second, the plots of the films reveal a sense of solidarity of the N-generation by episode-frameworks and emoticons. Features of cyber novels -the interaction, the nameless, the unlinearness and the imageness-are very rare for adopted films of cyber novels. These unlinear structure of cyber novels influence on digital thinking, a loose plot, episode-framework and parody of adopted films, but comic moods and multiple structures of cyber novels change into melodramatic moods and single liner structures. And emoticon and slang of the films show the new sense of solidarity of the N-generation-that is the multimedia-generation and the image-generation-in view of the oral language, the secret language, the acronym and the emotional sign.
Third, the themes show the multiple-character and connection-culture, and the violence and the deviation of the characters reveal the N-generation's desires. The cyber-culture and connection-culture through the ID and the avatar have the multiple-subjects-the real 'I' and another 'I'-for the digitalization-identification, and they have the negation-thinking about the ruling ideology to intend to disorganize the totalization and the family-principle. And the heros' the violence and the deviation show the N-generation's desires for escaping from social oppression and confused identity.
The storytelling of the films-that are adapted from cyber novels-shows the culture and the desire of the N-generation audience through the dissolution, the disorganization and the deviation. The characters, the plots and the themes of the films reflect cultural feature of N-generation in respect of new identity, confusion of identity, disorder and diversification.
목차
1. 사이버소설의 문화콘텐츠 활용과 각색영화
2. 신데렐라 콤플렉스와 나르시시즘: 로맨스를 통한 대리만족과 상처받은 영혼의 자기애/대상애
3. 단선적 서사구조와 구술언어: 장르의 결합과 새로운 연대의식의 강화
4. 일탈과 부정의식: 인물의 이중성과 폭력ㆍ일탈을 통한 탈출 욕구
5. 사이버각색영화의 내러티브 실천과 N세대
참고문헌
Abstract
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