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This article aims at forming foundation to prescribe study of cultural contents based on practical and productive discussion. Considering character of cultural contents, that covers a wide range of genre, media, and field, I advanced the discussion focused on storytelling. Of course this argument should premise cultural contents' distinction. The various genre of Korean cultural contents have been launched into market successfully, and the basis for creating higher value-added business with one source multi use was set up. It has excellent enjoyer with strong point that they have a correct understanding of cultural contents. Now the strong point is connected to giving shape to the cultural contents to make it more productive and long lasting model. It is necessary to discuss totally, practically and concretely on the basis of academic-industrial cooperation for this arguments. The discussion of storytelling as cultural contents study should be advanced with the total view of following points. 1) strategy to develop original source to secure good quality storytelling. 2) storytelling strategy on how to make secured source into cultural contents effectively. 3) strategy to actualize enjoyment with embodied storytelling and strategy to expand one source multi use. 4) literacy strategy for cultural contents storytelling. The result of above should be researched in the academic-industrial cooperation. When it can be systemized theoretically and logically, it can also secure academic trust and authority. Key Words Korean Cultural Contents, Storytelling, original source, storytelling strategy, enjoyment, one source multi use, literacy, the academic-industrial cooperation

Nowadays identity of university rapidly shifts from ivory tower which seeking after truth to training center of high-grade human resources which market needs. University crisis is unavoidable in post-industrial society. Humanities crisis might be understood extension of that. Transformation of humanity to cultural content study in a sense inevitable. But I doubt humanities can bring cultural content specialists which market needs by extending research domain to new media. This article aims to reveal roles of humanities in training cultural content specialist and direction of humanities research for creating cultural content standing on my experiences of teaching KAIST Graduate School of Cultural Technology students. Humanities already have trained cultural content specialists such as novelists, screenplay writers before the concept of cultural content has established. In the age of analogue cultual content specialists just needed depth, but in the age of digital they need width as well as depth. For educating cultual content specialists humanities have to teach deep knowledge of humanities instead of extending research domain to new media. Humanities have to demolish inner barriers and return to original text.

The importance of the cultural industry and cultural commodities grows larger every year. The influence of it extends to the realms of the university, especially to the curriculums of the Department of 'Cultural Contents'. In traditional terms, the culture means the 'good'. But it has been compelled to function as 'goods(commodities)'. The birth of 'Cultural Contents' is forecasted and sponsored by multimedia/massmedia cultures. Old cultural contents must be renewed into the new cultural contents based on the mass communication systems. According to this new trends, we must provide the satisfactory curriculums and programs about the object and methodology of the cultural contents. In this paper, we introduced the curriculum of Inha University. It seems to be the standard model in Korea. In analyzing the curriculums, we can understand the success, failure and possibilities in that program.

A movie with the cartoon, War of Flower as the original work and with the name the same as that of this cartoon gained a great deal of popularity. In this line, productions of movies or dramas based on comics are increasing. Therefore this research is intended to clarify the reason movies and dramas use the peculiar settings of cartoon, and to study how the industry development of one source multi use originated from cartoon affects our cartoon industry. While video media have been focused on the reality reproduction faithful in delivering the messages, cartoon have been creating surreality in texts that can produce various meanings. Also, as cartoon have free styles of speeches in their expressions, they have a strong concept as cultural contents resources in which each of their settings may be separately utilized. Owing to such characteristics, it is predicted that cartoon are will continue to be produced in diverse styles of video contents. On the other hand, it needs be warned that such characteristics of cartoon are concentrated on functional values and materialistic values. Repeating consumption of only the popular works of the past with no production of new cartoon, that may cause a distorted forms of development with no production.

This paper is to examine characteristics of novels as original work for filmization through inquiring into having filmized novels since 2000. Several Korean novels have adapted to film since 2000 and more novels will adapt to film for the time being because the movies originated from literature had a great success recently. Not only three novels of Hwang, Seokyeong but also The Black Flower of Kim, Yeongha, Misil of Kim, Byeora, Hwangjini of Hong, Seokjung, Leesiml and Leejin of Kim, Takhwan and Sin, Keongsuk. There are two characteristics appeared in the novels which have adapted to film since 2000. First is the strengthening of Traditional Narrativity which is based upon causationism and provability. This Narrativity has mutual accordance with Hollywood Genre Narrative Convention in narrative structure and reign over narrative texts of present time as guarantied narrative structure. Second is the superficial storytelling which consists of the restraining from narrating interior mind, the segment according to space and speedy storytelling which are similar to speedy camera works of Genre Movies. This characteristics has intimate relationship with Hybrid-Genre tendency that is chief trend of narrative at present. It is good that the film and novel are strengthening mutual intimate relationship again. But restriction to narrow range of narrative having two characteristics by economic logic is rather dangerous, because the cultural development is possible when diverse narrative can survive.

This study aims at finding out a theory of creative writing in order to develop 'soft textbook' type edutainment. 'Soft Textbook' means a kind of textbook, which conveys knowledge and information with ease and amusement. The results of this study are as follows: 1. The thrill and suspense of a mystery novel, the detective's reasoning and the setting up of a detective as an expert of a special field get knowledge and information to be conveyed easily, interestingly, with broad merging, in the state of being immersed. 2. 'Frame' type novels pass knowledge with diverse layers, through lecture and performance methods, by entering into reality and fantasy. In addition, narratives like survival stories and family reunion stories create immersion, stimulating human's basic desires. 3. Duplex structure of mystery stories is adequate to conveying enormous knowledge and a metafiction structure ensures a new viewpoint on a specific field of study by inducing reflective viewpoints on knowledge. 4. Metaphors, fables and examples are good instruments of effective conveying of knowledge and to command them rightly, audience's previous cognition on a specific knowledge should be examined thoroughly.

Romance of Three Kingdoms(三國志) is one of the most famous steady-sellers and cultural contents in Northeast Asian nations as well as Korea. For example, the number of textual versions have exceeded four-hundred texts by present, publishing the modern textbook translated korean in 1913 and developed contents of various genre, including animation, drama, comics and game. By this time known, the representative source-text of Romance of Three Kingdoms has two departments in domestic book-market: Mao(毛宗崗)'s and Yoshikawa Eiji(吉川英治)'s. Among the translations, the eminent works are Park Tae-won(朴泰遠)'s, Park Jong-wha(朴鍾和)'s, Kim Gu-yong(金丘庸)'s, Lee Moon-yeul(李文烈)'s, and Hwang seok-young(黃晳映)'s. Today Romance of Three Kingdoms has been changed and developed from oral to literary, and to digital texts, which could be subdivided in PC, Role Playing, Strategic Simulation, Arcade, Mobile, and Video Console Game etc. The number of games prevailed and utilized in domestic market is about 70. The most famous game of these is <SamGukji 10> produced and sold by KOEI Ltd. The Characteristic of the digital text could be summarized that has seven scenarios, 710 characters, prominent sound effects and 3D CG based on enhanced Technology. This transfiguration and application of Romance of Three Kingdoms should be taken note of various changes in the narrative-dimension to be divided into texton and scripton: Texton is a kind of the state of the product to make game-developer. Scripton a kind of imagined text composed in a game-user's playing process. The one and the other is a very unique phenomenon made in digital game narrative. Above debated and testified, Romance of Three Kingdoms could be decided upon the important object to be interdisciplinary-study and the stagnated Korean literary study to be practical use.

Korean [Sanguozhi] which was published in type printing, are as many as 400 kinds. There are mixed variety text forms: Mo Jong-gang's [Sanguozhi-Yanyi], Yosjkawa Eiji's [Sanguozhi], and korean independent rewriting, annotations etc. In addition, there are lots of [Sanguozhi]'s genres as much as existing genres: many cartoons, movies, animations, radio dramas, plays etc. This thesis intends to consider kinds and acculturation of Korean animation [Sanguozhi]. Okuda Seiji's [Sanguozhi] was aired in KBS. It is widely circulated for English education by Daijongyoungsang(대종영상) Co., however, its standard is very low. Moreover there are Japanese party animation [Sanguozhi] which are Sinano Kikaku's [Sanguozhi] in MBC and [New Sanguozhi] by Bidcom Co. In Korean party animation [Sanguozhi], I pay attention to Kim Cheong-gi's [Sanguozhi] which Go Woo-yeong was adapted. Kim Cheong-gi's [Sanguozhi] generally belong to Yosjkawa Eiji's Party in character's personal history and form conversion because of Go Woo-yeong who was acapted the first part. Nevertheless there are reflected in korean writer's imagination: Go Woo-yeong, Jeong Bi-seok etc. In comparison with Japanese animation [Sanguozhi] which has sensitive, feminine, and unrealistic characters in the main current, it has a few limitations of frame, organization of characters and design. However it is also feature of Korean animation [Sanguozhi] different from Japanese. Korean animation [Sanguozhi] has historical meaning to escape from subcontract country of animation.