관광객 참여를 기반으로 한 관광 스토리텔링 모형 연구 : 인터랙티브 디지털 스토리텔링 기법을 적용하여 = (A) study on the medel of tourism stroytelling based on tourist's participation : appying the interactive digital storytelling technique

국문 초록 (Abstract)

스토리텔링이란 주어진 소재에 대해 설명하는 것이다. 스토리텔링이 디지털을 만났을 경우 디지털 매체의 무한한 반복성과 파급성을 통해 스토리의 범위가 더욱 확산될 것이며, 디지털 매체에서 강조되는 상호작용성으로 인해 보다 사용자 위주의 환경이 조성될 것이다.
디지털 스토리텔링에서 가장 중요한 것은 사용자의 자발적 참여에 의해서 사용자 간의 인터랙티브한 관계뿐 아니라 사용자와 피사용자인 작가와의 관계에서도 상호작용성이 존재한다. 그러므로 작가라는 개념은 이야기를 만들어내는 사람의 개념보다는 정보를 제공해주는 사람으로써의 역할만 할 뿐 사용자 본인이 작가가 되어 이야기를 기술해나가는 방식을 취하고 있다. 특히 사용자가 만들어낸 이야기를 디지털 기술을 이용하여 디지털 매체인 네트워크상에서 다른 사용자와 서로 상호작용을 통해 이야기를 다시 재구성할 수도 있고, 다른 사용자가 이야기를 재생산하여 또 다른 형태의 이야기로 만들어내는 자유로운 과정을 거친다고 할 수 있다.
현대 사회에서 디지털 기술의 확산에 따라 사람들은 자기 이야기를 할 수 있는 공간이 많아졌고, 더욱 새로운 소재를 찾아 이야기를 만들어내기 시작하였다. 기존의 아날로그적인 이야기 형태는 단순히 우리가 읽고 정보를 얻어낼 수밖에 없었지만, 디지털 스토리텔링은 사용자가 또 다른 형태의 작가가 되어 자신의 구미에 맞는 이야기를 만들어 낼 수 있게 된 것이다.
관광이라는 소재 역시 시각적 이미지를 중심으로 관광객의 인식에 따라 그 가치가 부여되는 상품이기 때문에 이미지 홍보가 매우 중요하며, 이를 위해 스토리텔링이 이용되기도 한다. 그러나 기존 관광 스토리텔링은 장소에 관련된 이야기를 만들어내는데 중점을 두었고, 그 이야기가 과거에 있었던 상황에 대한 설명이었기 때문에 지금 이 시점에 관광지라는 장소를 방문한 사람들에게 효과적으로 인식되기 힘들었으며, 스토리 때문에 관광지 이미지에 집중할 수 없게 만드는 경향이 있었다.
그러나 디지털 스토리텔링을 관광에 적용했을 경우 관광지의 이미지를 중심으로 관광객 본인의 상황과 아우라(aura)에 맞게 이야기를 구성해 나가게 된다. 즉 자신만의 스토리텔링이 되는데, 말 그대로 자기 이야기가 되기 때문에 관광지에 대한 인식도 긍정적일 뿐 아니라 지속적인 각인 효과도 줄 수 있다. 또한, 이렇게 만들어진 이야기는 현대 사회의 이야기하기 좋아하는 Trend(homo narrance)와 맞물려서 인터넷과 네트워크상에 전파될 것이다. 이를 통해 또 다른 사용자인 관광객, 또는 잠재 관광객의 정보를 제공할 것이다. 여기서 제공되는 이야기는 단순히 여행지에 대한 스토리이기 전에 잠재 관광객에는 전문적이고 홍보성 있는 내용이 가미되어 있지 않은 새로운 정보로써 신뢰감을 가지고 접근하게 될 것이며, 이것이 또 다른 잠재 홍보 효과를 지닐 수 있게 된다. 이런 방식의 스토리텔링 구조는 관광객 본인들끼리의 지속적인 피드백을 통해 관광지 이미지를 새로 정립할 수 있는 계기를 마련할 것이며, 동시에 관광지에 대한 홍보 효과를 증대시키는 요소가 될 것이다.
디지털 기기의 속성은 빠른 전파력에 있으며, 또한 이용이 쉬워서 누구에게나 어떤 곳에서나 사용이 가능하다는 장점을 지니고 있다. 디지털 스토리텔링이 관광에 도입되었을 시에는 상호작용성에 기반을 둔 관광객 간의 효과 외에도 스토리텔링 자체가 관광지 홍보 수단이 될 수 있다는 점이다. 과거 단순히 서사 구조의 스토리텔링은 다른 장르로 변형될 때에 시나리오의 역할 밖에 할 수 없었지만, 디지털 스토리텔링은 생성 자체가 디지털 기기를 하여 시각적 청각적 효과와 더불어 생기기 때문에 여기서 만들어진 스토리텔링 자체가 타 장르로 변형된 것이다. 또한 디지털 스토리텔링 자체가 이미지를 중심으로 개인이 이야기를 이끌어가는 것이기 때문에 본연의 이미지만 제시하면 누구나 이야기를 발전 변형시킬 수 있으므로 관광 실무자에게는 색다른 홍보 효과와 함께 전체 이야기를 창조해야하는 부담감이 적어질 수 있다.
체험과 감성이 중요해지는 시기에 관광에서도 관광객 자신이 만들어 갈 수 있는 스토리텔링의 필요성이 대두되고 있다. 그러므로 디지털 스토리텔링의 자발적 상호작용성에서 착안하여 관광 스토리텔링 모형을 새롭게 정립하였다. 우선 관광지 이미지 정보를 통해 관광객은 자신의 상황에 맞는 이야기를 만들어 낸다. 이렇게 만들어진 이야기는 네트워크상에서 타관광객과의 상호작용을 통해 새로운 이야기의 재생산을 추구하여 다시 관광지의 새로운 이미지로 만들어간다는 모형이다. 관광객 본인이 만들어가는 스토리텔링은 관광객 본인의 관광지에 대한 인식을 높여주며, 새로운 정보 제공자의 역할을 할 수 있을 것이다. 나아가 관광 실무를 계획하는 사람에게는 관광객들 상호간에 피드백의 결과물인 관광지 정보를 통한 홍보 수단의 역할을 할 수 있으며, 관광지 이미지 확립에 중요한 역할을 하게 될 것이다.
마지막으로 관광 스토리텔링의 진정한 의미는 관광지 특성을 소개하는 것이 아니라 관광객에게는 관광지 체험을 공유하고 그것 자체가 일련의 흥미로운 과정이 될 수 있다는 점 때문에 그 의미가 중요하다고 볼 수 있다.

다국어 초록 (Multilingual Abstract)

The history of mankind has been passed down through language. Language is a tool for expressing ideas and various thoughts; a medium that defines the human being in the most humane way and expresses the power of human society.
Society proceeds with stories, so stories have functions that explain every situation and give meaning to objects. Thus, stories effectively express objects by raising interest in them. At this time, stories are the product of situations; therefore, they can change the usage of objects and even more, they can change basic meanings in various situations. In that sense, storytelling is a process that not only explains a situation but also creates objects effectively by delivering the proper situation. In the context of tourism as a delivery vehicle of geographical concept, stories take on crucial roles in effective sales of “places” So, storytelling supplies a place where tourists can sympathize with and identify themselves with tour sites, and thus it helps tourist concentrate on tour sites.
In order to make tourism storytelling function well, it should be updated. As computers become common and the whole world is connected with one network, storytelling should fit itself into this generation. However, tourism storytelling just repeats old content and focuses too much on the prototype of sites, thus contradicting current images. Stories have become borderless between content and result and they are not just given but they are continuously reproduced with users’ preferences and participation in the 21st century that is based on diversity. Moreover, we cannot find any border between producers and participants.
In the past, there was only one way to deliver stories, from producers to participants, but now the existing descriptive content of the story has been changed to conversational content where participating production can be made. That is, stories are the product of experiences and intentions of participants and these kinds of stories open up a new sphere of “digital storytelling” combined with new technology called digital media.
In these days when storytelling plays a crucial role in advertising tour sites, it may be suggested that storytelling should not be just telling stories that are created on the site and edited by the teller or others in charge of tourism, but should provide the opportunity for tourists to immerse in and merge their experiences and images with tour sites by using our new digital technologies.
Therefore, the purpose of this research is to create a suitable storytelling model that fits in with modern digital media by inducing the effectiveness of digital storytelling technology through comparison with the old storytelling way and to obtain implications through the model.
Storytelling, which is an act and an art of expressing feelings now meet the vast advantages of the new technology called the computer. The demand of the times has brought spoken and written words to the digital world and the thoughts of each person do not stay in the mind but spreads through the strong digital medium. Storytelling is different from the past because of innate characteristics of digital technology; namely, image and implication. That is, digital storytelling can be defined as an interactive process which combines the storyteller with the imagination of the listener, not simply a delivery of stories to listeners through mere voice and gestures.
Digital storytelling does not promote current tree-type linear structure but strives for the rhizome type, multivalent, and episodic story structure. In this sense, digital storytelling can show how digital has developed in the aspect that digital also spreads fast and earns the sympathy of people. It can show a part of storytelling from the aspect that storytelling is universal and earns the trust of the people. Among its characteristics, the biggest one is interactivity. In the past, storytelling had a rigid one-way method of delivering stories, but stories told in digital is dialogue type and the border between author and listener becomes vague; thus, the story can be changed by listeners at any time. Thus, authors no longer function as authors. They only do the basic elementary work such as creating images and the rest is brought into the work by continuous interaction.
The most important point in tourism storytelling is endowing meaning to places. Endowing images to places indeed does make places more valuable and emphasizes a lasting effect and vision of places. It is important to emphasize image for applying digital storytelling considering the effectiveness of tourism storytelling. The way tourists remember tour sites is in the form of images. Human memory structure does not remember a story logically but as a continuum of images. The story is not only an effective method to commit the tour site to the memory of the tourist’s mind but also triggers immediate action by tourists and ultimately acts to attract potential tourists by word of mouth.
The basic place for tourism is visual space. So, in storytelling, visual effect is really important. Especially, images should be delivered to tourists in an original form by maximizing visual effects rather than simply describing images. However, the way of acknowledging image is different from person to person. Because of the difference in acknowledging and feeling among people, it is almost impossible to create a story that everybody identifies with. To overcome personal differences over images, the method of combining famous stories into a new story is commonly used because this way draws much more sympathy among people than other ways.
Thus, the best way to inform potential tourists of visual places effectively is by converting them into images. It is difficult to make stories with solid structure unless you are a professional storyteller, so the most effective way to produce a story that everyone can sympathize with is by creating a story of one’s own with experiences. Modern people respond more strongly to information that they experience than to information that is already there. It is because people believe it only after they experienced it. They will have more confidence in information they have experienced and then will spread it to others, leading others who hear it to have more confidence in the information. This kind of effusion of information will be effective in terms of tourism marketing that sells “the site” What the tourists experience through visual imagery will satisfy tourists with places. The result will be that people will have stronger skill and ability to deliver the story to others.
Digital tools that were created by the development of modern digital technology has rendered time and space concepts meaningless to people. They no longer are limited by time. They can tell stories from the past to the future and even make up new stories. The sources of various stories enable people to develop in many aspects and stories can be seen anywhere, not just in one place. Eternal stories have been developed through digital technology by breaking the time limitation and stories can remain in people’s memories for a long time due to their various changes. As for tourism, in order to make visual images successfully impressive, a variety of efforts related to places are needed, not just restricted to place itself. Then, it is imperative to delivery effective images and provide a solid storyline with images and that is the everlasting and effective story structure.
However, the definition of space is meaningless because the innate identity of space has been lost. Now, not only a border between spaces but also the border between the real world and the virtual world based on time becomes ambiguous making it doubtful on which place to advertise. However, what we sell is a real concept called place; however, the meaning related to that place is actually a virtual reality that does not exist in contemporary time. Thus, image in a concept of differentiating the real and the virtual world and one that can approach people more effectively when delivered through a story.
In order to advertise places more effectively, we need to apply an appealing storytelling technique; specifically, a technique that can expand stories based on the situation of modern digital times. For this, I propose a model that will advertise places with a specified vehicle for storytelling created from produced information called the story.
The tourism storytelling model with digital storytelling is based on a participating storytelling mode that comes from a tourist’s personal feelings and experiences as the objective. First, an image obtained from spatial structure should be built closest to the image that we want to obtain from a tour site considering distance and various facilities. The structural image is only a reference for tourists to do the storytelling. It does not have absolute influence on tourists in forming images.
Tourists obtain other images through information in addition to the architectural feelings obtained from design structure and spatial images of a tour site. Mostly, a staff in charge of tourism intervenes in this stage. Storytelling in the past was just making up and utilizing a story in steps that fit into a place when used to advertise a specific place. However, in the model of this study, the staff can only supply a database through which tourists can produce their own images through visual stimuli of tour sites. Thus, it emphasizes a specified image and a rough fundamental guideline that enables tourists to “feel” images during their tour. Production of the story is totally left to the tourists themselves.
The stories produced in this way have different forms according to personal understanding of images. It might produce two totally different stories from a single stimulus, and this is not error or a wrong story, but emerges from the story arising from differences in personal understanding; and thus, it is not appropriate to attempt to change or fix the story.
Produced stories should go through the process of “sharing with others” and it is appropriate that this process should be done on networks. First, the network is needed to store a story made by a lot of different people and to provide feedback on the story. Moreover, it is easier to produce digital media data and reproduction for feedback in utilizing video and sound materials for better understanding of more people. Therefore, spreading stories through the digital medium can be done much easier than with any other methods.
Lastly, a story that has already spread and has value as information can work as information for other tourists. When a potential tourist encounters this story from a prior tourist who visited the tour sites in question, he/she can give feedback to this story. Feedback does not simply criticize or agree with opinions but helps in reprocessing stories to make totally different stories. As I said before, a reprocessed story does not mean changes or correction to the original one. It is a reproduction and becomes a totally different story and that is the difference in making changes and corrections to the original ones.
Through creation and changes in stories, tour sites naturally become topics of conversation, and we can easily advertise tour sites without special advertising tools. Moreover, stories made by tourists who visited the tour sites first and more potential tourists through their creation and feedback will set the image of a tour site again. However, this image can be changed and reproduced by other storytelling at any time. Thus, this storytelling model is a model that can impress tourists by inducing their participation and that can continuously change and make images of tour sites come alive. A storytelling pattern proposed in the model is a related process of spreading a generalized story through a network that was made from tour experiences and through a reorganization of stories with feedback from the people who are involved in other tour businesses.
◁그림 삽입▷(원문을 참조하세요)
<figure 1> the Model of Tourism Story telling based on Tourist’s Participation Applying the Interactive Digital Storytelling Technique
Tour sites have always had fictitious images. We chose a participative storytelling method to reduce differences between this fictitious image and the real image that tourists actually feel. Tourists will create stories as confirmation of real images with expected images. Some who experience consistency between real images and expected images will create a positive story, but if they experience inconsistency between them, they may produce distorted images of tour sites. However, we can still regard negative images as a process of storytelling.
Moreover, participating tourism storytelling may have significance in that it gives tourist a chance to participate in consumption forms. An ideology that is offered in advertising tools exists as a process of making images consistent with the real world and realize the consumer’s ego to be advertised, not just a delivery of a product. By creating stories, tourists can realize images of tour sites that were experienced before and give meaning to a trip as a valuable experience.
Storytelling is an explanation of a given material. When storytelling meets digital, a range of stories can expand much more with infinite repetitiveness and spreading in the digital medium and a user-friendly atmosphere will be created through interaction that is emphasized in the digital medium.
The most important thing in digital storytelling is the interaction between users by autonomous participation of users. That interaction also exists in interaction between writers and users. So, the concept of a writer is one who offers information rather than the one who makes stories. Users themselves become writers and write stories. Especially, stories can be reproduced through interaction among users through network on network, which is a digital medium made by digital technology. Moreover, it can freely render a totally different story in different form.
In modern society, people come to have more space to talk about themselves along with the spread of digital technology and they have begun to make stories seeking new things to write about. We simply read and get information in the old and analog story form, but digital storytelling enables people to become another form of writers and to write stories as they want to.
As tourism is also a commercial product whose value is determined by tourists’ perception mostly on visual images, image advertisement is really important and storytelling is often used in this kind of advertisement. However, old tourism storytelling emphasizes making up stories about places and they were mere explanations of situations that existed in the past, so tourists who visit tour sites now are hardly impressed with old storytelling and they cannot concentrate on images of tour sites because of old stories.
However, when we apply digital storytelling to tourism, tourists organize images of tour sites according to their situation and their own aura. That is, it becomes a tourist’s storytelling and this literally means that his/her storytelling becomes his/her story, so tourist can have a positive impression of a tour site; and hence, the story can give him/her an everlasting impression. Moreover, this story will be spread all over the Internet and networks combined with a talkative trend (homonarrance) of modern society. Also, it will give the information to other users, mainly potential tourists. It is not only a mere story about a tour site for potential tourists, is new information though it is not professional and advertising materials, but they will have confidence in it. This will bring another potential advertising effect. This way of a storytelling structure will create a chance to reorganize images of tour sites through continuous feedback from tourists and it will magnify advertising effects of tour sites.
The attribute of digital devices is in fast diffusion and it is easy to use so everybody can use them anywhere. Applying digital storytelling to tourism means that storytelling itself can be an advertising tool other than the effect between tourists based on interaction. Chronological storytelling only works as a scenario when it changes into another genre, but digital storytelling has a combination effect with visual and auditory effects because the creation of storytelling itself works as a digital device, so storytelling produced here is changed into other genres. Moreover, storytelling itself means that one person leads a story with great emphasis on image, so anyone can change that story if they have the original image. For the staff in charge of tourism, they have fewer burdens because they do not need to care about new advertisement methods and the creation of new stories.
In this time when experience and sensitivity has become more important, the need for storytelling made by tourists is also increasing. So, this study sets up the new tourism storytelling model based on voluntary interaction. First, tourists make their own stories that fit their situations through the image information on tour sites. They stimulate reproduction of new stories with interaction with other tourists on networks, then, new images of tour sites are made. Storytelling made by tourists will make good images of a tour site and they will work as a new information provider. Furthermore, for those who plan practical tourism business, it can be used as an advertisement tool, which is a result of feedback from tourists and it will serve a crucial role in setting up images of tour sites.
Lastly, the real meaning of tourism storytelling is not an introduction to the characteristics of tour sites, but the fact that it can be an interesting process for tourists as they can share their own experiences on the tour sites.

목차 (Table of Contents)

• 제 1장 서론 = 1
• 제 1절 연구의 배경 및 문제 제기 = 1
• 제 2절 연구의 목적 및 의의 = 2
• 제 3절 연구의 범위 및 방법 = 3
• 제 4절 연구의 구성 = 5
• 제 2장 이론적 배경 = 7
• 제 1절 관광 현상의 변화 = 7
• 1. 관광 형태의 변화 = 7
• (1) 외국인 방문 관광(In-bound Tour) = 7
• (2) 내국인 출국 관광(Out-bound Tour) = 8
• (3) 내국인 국내 관광(Intra-bound Tour) = 8
• 2. 관광 주체자의 변화 = 9
• (1) 신(新) 소비 집단으로서의 관광객 = 9
• (2) 디지털 세대로서의 관광객 = 10
• (3) 영상 세대로서의 관광객 = 14
• (4) ‘추임새’ 세대로서의 관광객 = 15
• 3. 스토리텔링의 변화 = 18
• (1) 이야기를 원하는 사회 = 18
• (2) 소비 방식의 변화 = 19
• (3) 컨버전스(Convergence) 현상 = 19
• 4. 관광 매체의 변화 = 21
• 5. 관광 장소성에 대한 의미의 변화 = 23
• 제 2절 스토리텔링 = 24
• 1. 스토리텔링의 개념 및 정의 = 24
• 2. 스토리텔링의 의의 = 25
• 제 3절 디지털 스토리텔링 = 26
• 1. 디지털 스토리텔링의 개념 및 정의 = 26
• 2. 디지털 스토리텔링의 특징 = 30
• 3. 디지털 스토리텔링의 의의 = 32
• 4. 디지털 스토리텔링의 영역과 활용 = 33
• (1) 엔터테인먼트 스토리텔링(entertainment storytelling) = 34
• (2) 인포메이션 스토리텔링(information storytelling) = 36
• 5. 디지털 스토리텔링의 요소와 서술 방식 = 37
• (1) 요소 = 37
• (2) 서술 방식 = 38
• 6. 디지털 스토리텔링의 정보화 과정 = 42
• (1) 자료와 정보 = 42
• (2) 이미지 처리 과정 = 44
• (3) 디지털 정보화 = 45
• 7. 디지털 스토리텔링의 사례 = 46
• (1) 컴퓨터 게임 ‘리니지’ = 46
• (2) 영화와 광고의 재생산 - ‘빠삐놈’ = 48
• 제 4절 관광 스토리텔링 = 49
• 1. 관광 스토리텔링의 정의 = 49
• 2. 관광 스토리텔링의 의의 = 51
• 3. 관광 스토리텔링의 사례연구 = 52
• (1) 공급자 측면의 사례 = 52
• (2) 수요자 측면의 사례 = 54
• 4. 관광 스토리텔링의 현재 = 57
• 제 4절 디지털 스토리텔링과 관광의 상관성 및 소결 = 60
• 제 3장 디지털 스토리텔링 기법의 관광에 대한 적용 = 64
• 제 1절 내용적 측면의 적용 = 64
• 1. 이미지 = 64
• 2. 내용적 상호작용 = 65
• 3. 유연성 = 66
• 4. 맥락성 = 66
• 5. 셀프-콘텐츠(Self-contents)화 = 68
• 6. 현장성 = 70
• 제 2절 형식적 측면의 적용 = 71
• 1. 보편성 = 71
• 2. 형식적 상호작용 = 72
• 3. 결집력 = 73
• 4. 반복성 = 74
• 5. 매개체의 상용성 = 75
• 제 4장 관광 스토리텔링 모형 설정 = 78
• 제 1절 모형 구성의 전제 = 78
• 제 2절 모형의 전개 구조 = 79
• 1. 공간 구조 분석 = 79
• (1) 거리(Distance) = 79
• (2) 주변 시설(Facilities) = 80
• 2. 이미지 설정 = 81
• 3. 주체자의 이미지 맥락화 = 85
• 4. 형식적 상호작용을 통한 전파 = 89
• 5. 내용적 상호작용을 통한 피드백(Feedback) = 91
• 제 3절 모형의 설계도 = 93
• 제 4절 유사 사례분석 = 96
• (1) 대한민국 구석구석 카페(http://cafe.naver.com/9suk9suk.cafe) = 96
• (2) ‘대한민국 구석구석’ 웹툰(Web Toon) = 99
• 제 5장 결론 및 고찰 = 102
• 제 1절 결과 = 102
• 제 2절 시사점 = 104
• (1) 관광객 측면의 시사점 = 107
• (2) 관광 실무자 측면의 시사점 = 109
• 제 3절 한계점 및 향후 연구 과제 = 112
• 참고문헌 = 114
• ESSAY = 125