This thesis focuses on Wandeuki and Elegant Lies - novels written by Kim Ryeo-reong and adapted into the film by Director Lee Han; this thesis analyzes the process of storytelling being transformed as the media is converted. Also, this thesis discusses cultural-political implications of transmedia storytelling where different narrative responses coexist concerning post-IMF family disorganization and “individualization.” First of all, this thesis critically reviews existing discourses on the concept of transmedia storytelling and refers to ‘transfictionality’ the narratological concept of Marie-Laure Ryan in order to look into media conversion storytelling that starts from original novels.
The novels Wandeuki and Elegant Lies show two aspects of “individualization” that adopts existential conditions of family disorganization. Wandeuki deviates from patriarchal family romance through self-discovery and exhibits loose family bond, which is something similar to companionship of close individuals. Elegant Lies shows individualization of pain by portraying a teenager who found herself completely isolated, while showing that it is impossible for the people left behind to mourn. On the other hand, director Lee Han’s films <Punch(the English title of Wandeuki)> and <Thread of Lies(the English title of Elegant Lies)> show stories in which family members, who are confronting family dissolution, rediscover and restore their families against family dissolution. The film <Punch> promotes the expansion of family community through multicultural identity, and the film <Thread of Lies> completes condolence of the people left behind by having the remaining families survive as survivors of suicide.
The storyworld of the novels puts emphasis on ‘self-discovery’ of individual adolescents, while the storyworld of the movies puts emphasis on ‘rediscovery of family’. Through transformation of storytelling - especially the redesigning of narrative structures called “modification” - transmedia storytelling shows that the relationship between media-converted texts is far from “faithful representation,” but rather, shows conflicting themes and perspectives.
With a reference point of ‘the emergence of character’ transmedia storytelling, which is predicated on the original work but aims to free itself from the original work by transforming storytelling through media conversion, opens up polyphonic storyworld by creating heterogeneous voices. In the post IMF-era, where uncertainty mounts over family dissolution and individualization, polyphonic storyworld created by transmedia storytelling provides an opportunity to experience disparate desires over individual freedom/risk and complacency toward community. We can call this the cultural-political implication of transmedia storytelling based on transferring, transcednding, and transforming.