지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
The purpose of this research is to find an answer to a question: "What kind of cultural discourse is present as result of recent openings of Korean movies in the U.S.?" In statistical perspective, the presence of Korean movies in the U.S. is minimal, yet. However, the interests of Korean film makers and audiences regarding showing of Korean movies in the U.S. are very high.
In fact, some of Korean movies are introduced thru international film festivals and various film markets. Recent Korean movies are being produced not only for the domestic audiences but also for international ones. Most Korean movies released in the U.S. are also as result of award winnings from international film festivals or domestic successes. Therefore, the recent US. opening Korean movies can be categorized in art movies or Hollywood style genre movies.
This research deals with 〈D-War〉 produced for the purpose of being released in the U.S. and ones already shown in the U.S. The reason is to aggressively find cultural discourses involved with those productions that aim at releasing in the U.S.. Also, this research predisposes that the cultural discourses do exist in various forms and processes. This paper does not intend to judge right or wrong but to peruse how various cultural discourses compete or co-exist in or out of the movies.
Not only production processes like a uniqueness of narrative and purpose of a production but also marketing intention and method and responses of media has been analyzed and the result indicates that Korean movies which have been shown in the U.S. has not formed any significant cultural discourses. However, domestically, in the process of production, industry-central cultural discourses and technology-central ones have been strongly present. Both discourses are involved with 'patriotism,' Instead of realistic analysis of the movies' quality, patriotism and self satisfaction are prevalent and are the focus of the audience's interest.
Since visible results and self satisfying meanings of movies are stressed, the creative efforts for narrative itself tend to be slighted. The enhancement of identity of Korean movies in a long run seems a weak possibility when the effective and realistic efforts are overlooked. These are the reasons being pessimistic about releasing of Korean movies in the U.S. making any positive progress. It is questionable whether movies filled with origin indistinctive narratives can be recognized as a Korean movie. We must escape from just simply copying the Hollywood style genre movies.
In fact, some of Korean movies are introduced thru international film festivals and various film markets. Recent Korean movies are being produced not only for the domestic audiences but also for international ones. Most Korean movies released in the U.S. are also as result of award winnings from international film festivals or domestic successes. Therefore, the recent US. opening Korean movies can be categorized in art movies or Hollywood style genre movies.
This research deals with 〈D-War〉 produced for the purpose of being released in the U.S. and ones already shown in the U.S. The reason is to aggressively find cultural discourses involved with those productions that aim at releasing in the U.S.. Also, this research predisposes that the cultural discourses do exist in various forms and processes. This paper does not intend to judge right or wrong but to peruse how various cultural discourses compete or co-exist in or out of the movies.
Not only production processes like a uniqueness of narrative and purpose of a production but also marketing intention and method and responses of media has been analyzed and the result indicates that Korean movies which have been shown in the U.S. has not formed any significant cultural discourses. However, domestically, in the process of production, industry-central cultural discourses and technology-central ones have been strongly present. Both discourses are involved with 'patriotism,' Instead of realistic analysis of the movies' quality, patriotism and self satisfaction are prevalent and are the focus of the audience's interest.
Since visible results and self satisfying meanings of movies are stressed, the creative efforts for narrative itself tend to be slighted. The enhancement of identity of Korean movies in a long run seems a weak possibility when the effective and realistic efforts are overlooked. These are the reasons being pessimistic about releasing of Korean movies in the U.S. making any positive progress. It is questionable whether movies filled with origin indistinctive narratives can be recognized as a Korean movie. We must escape from just simply copying the Hollywood style genre movies.
목차
1. 서론
2. 영화의 문화 담론 분석
3. 미국 개봉 영화 〈디워〉의 국내 문화 담론 분석
4. 결론
참고문헌
Abstract
참고문헌 (20)
참고문헌 신청
함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
한국 기획영화에 관한 연구 : 〈결혼이야기〉를 중심으로
영화연구
2007 .09
-
중국의 한국영화 수용에 대한 연구 : 2006-2008년
영화연구
2010 .03
-
“영화의 이해” 교양 교육이 영화 이해도에 미치는 영향
영화연구
2007 .04
-
영화 텍스트분석을 통한 한일합작영화의 기획방법에 관한 연구
영상기술연구
2011 .12
-
영화 흥행과 문화의 관련성에 대한 연구 : <행오버> 에 대한 한국과 미국 관객 반응을 중심으로
영화연구
2014 .06
-
영화산업의 독과점 실태와 해소 방안
스포츠엔터테인먼트와 법
2017 .01
-
1920년대 초 조선총독부「 활동사진반」의 역할에 관한 연구
영화연구
2004 .12
-
한국 상업영화의 소재와 주제에 관한 연구
영상기술연구
2019 .12
-
｢활동사진필름검열규칙｣의 검열수수료 문제와 조선영화산업의 변화* 21)
현대영화연구
2011 .01
-
영화로 표현 된 공감(共感)적 감정 미학 : Monster's Ball(2001), Love Letter(1995)를 중심으로
영화연구
2010 .06
-
멜로 영화의 내적 리듬과 이미지에 관한 연구 : 이와이 순지 감독의 〈러브레터〉, 허진호 감독의 〈봄날은 간다〉 중심으로
영화연구
2013 .03
-
영화 〈유열의 음악앨범〉에서 나타난 감성적 기억의 공간
영상문화콘텐츠연구
2020 .02
-
관객의 영화선택 지각에 영향을 미치는 마케팅 변수에 관한 연구
영화연구
2004 .06
-
SF장르에서 공간 표현의 새로운 가능성 : 〈디스트릭트 9〉을 중심으로
영화연구
2010 .06
-
국내 멀티플렉스의 현황과 시설변화 추이
영화연구
2004 .12
-
친일영화의 특징 연구
영상기술연구
2014 .12
-
1950년대 감독연구 : 홍성기감독의 신문소설의 영화화 경향을 중심으로
영화연구
2002 .12
-
북한식 사회주의 형성기 북한영화 연구(1958~1966)
영화연구
2008 .03
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2012-600-003636043