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커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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The purpose of this study is to re-examine whether the term called 'documentary' is the target of scrap or not, and whether the mode called documentary is too old to have significance, amid the situation of dilemma in complicated and broad spectrum like modern times.
The discussion is developed in a level of raising several problems that are possessed by the main concepts, which have historically dominated a discourse in documentary, and by the epistemology on documentary. The status, identity, and orientation in documentary are considered by inspecting the reality, which is the primary question, the mode and experiment of expressing this, and the division of boundary with fiction.
It is now problematic clearly for the term called documentary to be used as a concept of including all the works such as variety and hybridity. Due to expansion in media such as digital technology and internet, numerous works, which cannot be measured on the basis of the norm or criterion for the existing traditional documentary, are creating and delivering reality in new dimension with the attempt in diverse modes and techniques. For instance, there are phenomena of emphasizing subjectivity rather than objectivity, the presence rather than revival, the emotional and private reality rather than social and public reality, and the simulacra rather than the subject of having the physical and indexical relationship with the actuality. These characteristics are attached more importance to the audiences' reaction and receptiveness rather than essential aspect in the work. In that sense, the documentary can be said to be the mode of reaction rather than one genre, method, and style. It is because this characteristic itself is one premise and value, too, in order for the documentary film to exist. In consequence, the documentary, as one category, is necessary and functions as important mechanism that expands and develops sphere and recognition on film.
The discussion is developed in a level of raising several problems that are possessed by the main concepts, which have historically dominated a discourse in documentary, and by the epistemology on documentary. The status, identity, and orientation in documentary are considered by inspecting the reality, which is the primary question, the mode and experiment of expressing this, and the division of boundary with fiction.
It is now problematic clearly for the term called documentary to be used as a concept of including all the works such as variety and hybridity. Due to expansion in media such as digital technology and internet, numerous works, which cannot be measured on the basis of the norm or criterion for the existing traditional documentary, are creating and delivering reality in new dimension with the attempt in diverse modes and techniques. For instance, there are phenomena of emphasizing subjectivity rather than objectivity, the presence rather than revival, the emotional and private reality rather than social and public reality, and the simulacra rather than the subject of having the physical and indexical relationship with the actuality. These characteristics are attached more importance to the audiences' reaction and receptiveness rather than essential aspect in the work. In that sense, the documentary can be said to be the mode of reaction rather than one genre, method, and style. It is because this characteristic itself is one premise and value, too, in order for the documentary film to exist. In consequence, the documentary, as one category, is necessary and functions as important mechanism that expands and develops sphere and recognition on film.
목차
1. 들어가는 말
2. 불완전한 생명체: 다큐멘터리 원형으로서 출발과 전통
3. 리얼리티와 재현
4. 관습으로서 리얼리즘
5. 새로운 시선과 형식으로서 다큐멘터리
6. 다큐멘터리, 픽션: 객관성, 내러티브
7. 마치며
참고문헌
Abstract
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