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커뮤니티
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초록· 키워드
오류제보하기
Jane Roscoe and Craig Hight, in their seminal work Faking it: Mock Documentary and the subversion of factuality, regard mock documentary essentially as a parody. It must be, considering their central use of the word “mock”. But, the author argues, if mock documentaries are understood as “fictional texts which in some form look like documentaries”, they are not all parodies, at least not in the ordinary sense of the term.
Mock documentaries are supposed to use the “code and conventions” of documentaries, but the problem is that, as an author says, “no particular formal or thematic features exist that are the sole province of either ‘documentary’ or ‘fiction’”. Using the techniques like hand-held shots, interviews, narrations, etc. (so-called “conventions” of documentary) are not enough, and perhaps not even required, for a film to look like a documentary. What is essential in mock documentaries, in the author’s view, is that the pro-filmic event does not look like directed, that is, staged.
If we think of mock documentaries as films that imitate documentaries, it might seem obvious that they are parodies. But if we think of them instead as films that look un-staged, we can see that they are not by themselves parodies. A film can look un-staged (like a documentary), but one cannot parody an un-staged film (a documentary).
Mock documentaries are supposed to use the “code and conventions” of documentaries, but the problem is that, as an author says, “no particular formal or thematic features exist that are the sole province of either ‘documentary’ or ‘fiction’”. Using the techniques like hand-held shots, interviews, narrations, etc. (so-called “conventions” of documentary) are not enough, and perhaps not even required, for a film to look like a documentary. What is essential in mock documentaries, in the author’s view, is that the pro-filmic event does not look like directed, that is, staged.
If we think of mock documentaries as films that imitate documentaries, it might seem obvious that they are parodies. But if we think of them instead as films that look un-staged, we can see that they are not by themselves parodies. A film can look un-staged (like a documentary), but one cannot parody an un-staged film (a documentary).
목차
1. 들어가며
2. 로스코와 하이트의 모크 다큐멘터리 이론
3. 모크 다큐멘터리는 패러디가 아니다
4. ‘관습’의 의미
5. 모크 다큐멘터리의 본질
6. 마치며
참고문헌
Abstract
참고문헌 (9)
참고문헌 신청
2. [학술지(정기간행물)] - 박인규 / 2006 / 다큐멘터리의 사실성과 장르 변형 ：모큐멘터리를 중심으로 / 현상과 인식 30 (1) : 148 ~ 170
3. [단행본] - 제인 로스코 / 2010 / 모크 다큐멘터리 / 커뮤니케이션북스
4. [학술지(정기간행물)] - Mast,Jelle / 2009 / New directions in hybrid popular television:a reassessment of television mock-documentary / Media,Culture & Society 31 (2) : 231 ~ 250
5. [인터넷자원] - / / http://www.britannica.com/EBchecked/topic/444489/parody
6. [단행본] - Nichols,Bill / 1991 / Representing Reality: Issues and Concepts in Documentary / Indiana University Press
3. [단행본] - 제인 로스코 / 2010 / 모크 다큐멘터리 / 커뮤니케이션북스
4. [학술지(정기간행물)] - Mast,Jelle / 2009 / New directions in hybrid popular television:a reassessment of television mock-documentary / Media,Culture & Society 31 (2) : 231 ~ 250
5. [인터넷자원] - / / http://www.britannica.com/EBchecked/topic/444489/parody
6. [단행본] - Nichols,Bill / 1991 / Representing Reality: Issues and Concepts in Documentary / Indiana University Press
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UCI(KEPA) : I410-ECN-0101-2013-600-000423973