This writing compares and analyzes popular narrative strategies of OhSeong-yoon direcotr’s animation‘ Leafie, a Hen into the Wild’and inwhich creative ways the popular narrative strategies were designed whenthe work was reconstructed from a movie into a cartoon. This paperintends to put forth basic views for the researchers or professionals’reference who plan to reconstruct storytelling in a creative way in thefuture based on this. The animation opened in 2011 was targeted for general audiences forall families by resuming the format of family drama combining thecoming-of-age stories of ‘Leafie’ and‘ Green’. The animation has morecomplex layers of structure than the children’s story. The animationadjusted the personalities of characters for more creative adaptation ofthe story and added supporting characters that did not exist in theoriginal material. The place of adventure changed from ‘reservoir’to‘Upo swamp’to deliver lively images of nature effectively highlightingthe adventurous characters of Leafie and Green. The cartoon consisting of the total of three books is a transition from a moving picture to printed medium creating differences in the method ofexpression. Each book has its own distinct character where the first bookmixes the adventurous narrative and drama when Leafie steps into thewild and watches the birth of a duck. The second book focuses on thegrowth of Green rather than Leafie’s life displaying various events tocreate a harmony of growth, adventure, dueling, and comic relief. Thethird book is about Green becoming a guard with a heroic narrative andcontains dynamic scenes to illustrate this. As such, each central story from the cartoon was designed for classes ofreaders who are seeking various kinds of entertainment employingdiversified strategies to convey a narrative. However, the carton’sstrategy of focusing on characteristics of each book resulted in theconsiderable restriction of philosophical themes such as circular naturalview and respect for life that were found in the original story andanimation.
목차
1. 들어가며 2. 애니메이션「마당을 나온 암탉」의 서사 전략과 캐릭터의 특성 3. 만화『마당을 나온 암탉』의 서사전략과 캐릭터의 특성 4. 결론 참고문헌 Abstract
한국문예창작학회(The Society of Korean Literary Creative Writing)는 한국
문학의 새 지평을 열기 위해 문예창작 이론과 문예교육 이론을 연구 계발하여 문
예창작의 새로운 방향을 제시하고자 조직한 학술단체입니다.
전국 대학과 대학원 문예창작 관련학과의 전·현직 전임교수·겸임(초빙)교수· 강
사·대학원 재학 이상자 및 문예창작인들이 회원으로 활동하고 있습니다. 학회의
목적에 적극적으로 동의하는 문학 관련 단체나 문학창작 동호인도 준회원으로 참
여하고 있습니다.
연 2회 학회지를 발간해 학문적 기반을 닦고 있으며, 정기적으로 학술 세미나
와 해외 문학 심포지엄 등 학술 발표회를 개최하여 학문적 교류와 토론의 장을
넓히고 있습니다.
한편으로, 문예창작 캠프·문학기행 등의 창작교육 활동과 창작 학습 행사를 수
시로 진행하면서, 창작·창작이론·창작교육에 관한 활동의 범위를 넓히고 있습니다.
별도로, 문예창작 교육을 받은 문예창작학도들의 진로 개발을 위해 '문예교육지도
교사 자격 시험'도 운영하고 있습니다.
The Society of Korean Literary Creative Writing is a pure academic
association for the literary cretive writing, and was organized on November
11, 2001 for the purpose of presenting the new direction of literary creative
writing by studying all the methods to activate and develop the theories of
literary creative writing and its education.
Our society is composed of professors or ex-professors, some invited
professor, lecturers, graduate students of the dept. of literary creative writing
as regular members, and the persons interested in our program as associative
members.
Our society holds an annual academic meeting-- literary symposium,
literary creative writing seminar-- and publishes the journal of our society
and our members' anthology of literary works.
Added to these, our society has already started a new project to open the
way for our literary juniors by providing them with a certificate as a leader
and holding a forum for literary creative writing.
간행물
간행물명
한국문예창작 [The Journal of Korean Literary Creative Writng]