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 rapid change of media environment has made diversify experimental filmmakers’ perception toward aesthetic components of experimental film and institutional support for experimental film-making. Using a statistical method, the present study aimed to empirically understand how filmmakers’ genre identity and cultural capital prduced the difference of their perception on aesthetic components, institutional support. T-test showed that filmmakers’ perception of aesthetic components and institutional support were partially different according to their genre identities and cultural capitals. First off, experimenatal filmmakers perceived technology, governmental support and aesthetic value more importantly than mediaartists, meanwhile media artists evaluated interactive communication more crucially than filmmakers. Next, filmmakers more strongly asked for governmental support than media artists. Thirdly, those who had cultural capital estimated art higher than have-not, which means cultural capital is the very factor to affect their perception of art of experimental film. However, have-not perceived filmmakers’ subjective expression higher than have, which is contrary to other aesthetic components. Lastly, interactive effects between genre identity and cultural capital was found to increase the level of difference of communication, institutional support, and aesthetic evaluation.
In sum, the present study found there existed diversified filmmakers’ perception toward experimental film and it influenced their actual activities. Furthermore, filmmakers’ cultural capital contributed to the creation of symbolic axis in the filed of film production, and consequently, the level of cultural capital was the significant predictor to make a difference of filmmakers’ perception on art and aesthetic components of experimental film.
In sum, the present study found there existed diversified filmmakers’ perception toward experimental film and it influenced their actual activities. Furthermore, filmmakers’ cultural capital contributed to the creation of symbolic axis in the filed of film production, and consequently, the level of cultural capital was the significant predictor to make a difference of filmmakers’ perception on art and aesthetic components of experimental film.
목차
1. 서론
2. 이론적 논의
3. 연구문제 및 방법
4. 분석결과
5. 결론 및 논의
참고문헌
Abstract
참고문헌 (21)
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UCI(KEPA) : I410-ECN-0101-2015-688-001343292