영화의 역사화 범주 가능성에 관한 연구

전평국(Jeon Pyoung Kuk) 한국영화학회 2008 영화연구 Vol.0 No.35

The work of historicization largely comprises the historical narration and the history education. In light of the aspect, history is a crisis. First of all, as the historical narration is the basic problem about the definition dubbed 'what history means', it is related to historical identity. A problem is raised about the scientific historical view, which was defined as 'conversation between the present and the past' based on reality in its previous 'historical fact' due to influence of post-modernism. And, the new historical epistemology is based that is called the component in discourse order, which is formed by the historical narration, simply as text, without being existed the historical fact. Either 'the past fact' or 'historical material' itself is what the current historian cannot actually approach, thereby being unable to see as 'the past reality', and is the result called one 'story', which was decorated with historical imagination. The paradigm conversion is attempted with assertion of being but 'fiction' not 'actuality' while recognizing the so-called historical concept as Linguistic Turn. This is 'anti-history' declaration that rings the knell of history, by regarding even the historical science as the sphere of fiction, not a fact, like literature or art. In the meantime, the evolutionary and progressive historical view is dissected centering on the nation and race, which was pursued by huge discourse in the existing modernism. And, the historical view of pluralism is pointed, which newly arranges history, by finding out discontinuously several starting points, which are made by accidental elements and devious events, for instance, diversely small stories, which are concealed and hidden by huge narration like the life in an individual and the masses, namely, 'history of oblivion' as 'history of memory.' In other words, the masses' counter-memory is reconstituted by excavating history as life, which had been excluded by the history as science. Thus, it aims to seek for the possibility of new history and to widen horizon of historical perception, by creating the so-called 'micro-history' and 'history from below.' Next, a problem of history education results from the perception that only the text history is the true history, with facing the post-alphabet and image era. In the current history-education system that is performed with school education centering on textbook, students or the masses obtain information from internet, film, and TV, not from a book, and communicate with the past. Many masses are already enjoying films or TV historical dramas as one history, naturally acquire historical knowledge inside it, and are renewing historical perception. Furthermore, the film shows specifically several aspects, to which the post-modem historical view had pointed, with diverse elements such as story, video image, color, clothing, art, music, and effect, which hadn't been possessed by the book. Thus, it is becoming the big motive in delivering newly lots of historical facts to audiences and in excavating potential history with historical imagination. One good example is Colorful Holiday, which was greatly successful film in box-office by having been released in the latter half of last year, with the matter of Gwangju on the 18th of May. Ultimately, in order to escape from this crisis, the new conversion of understanding about history is needed. As its one method, the positive attitude and perception are requested, which utilized the image media such as films, TV historical dramas, etc. escaping from 'national history' education centering on the current textbook of having the objective as infusing the national identity and the national ideology. This is the open thinking and the open discourse that elevate the historical thought and the historical imagination, beyond delivering historical knowledge.

매체 다원화 시대 다큐멘터리 장르의 경계에 관한 연구

전평국(Jeon Pyoung Kuk) 한국영화학회 2008 영화연구 Vol.0 No.37

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.

디지털 테크놀로지와 영화 표현기법의 변화

전평국(Pyoung-Kuk Jeon),김형두(Hyeung-Doo Kim) 한국콘텐츠학회 2009 한국콘텐츠학회논문지 Vol.9 No.1

2000년대 이후 영화에서 보편적으로 사용되기 시작한 디지털 테크놀로지는 영화제작과 표현기법에 있어 큰 변화를 일으키고 있다. 영화제작시스템의 축이 촬영중심의 프로덕션 제작과정에서 디지털 기기를 이용한 편집중심의 포스트프로덕션으로 이동되면서 기존의 프리 프로덕션->프로덕션->포스트 프로덕션으로 이뤄진 제작시스템의 경로와 경계가 불분명해지고 있다. 미학과 기술적인 측면에서의 이러한 변화는 영화작가에게는 창조성과 독창성을 더욱 확장시키고, 관객들에게는 전통적인 영화에서는 느낄 수 없었던 현실감과 생동감을 보다 크게 느끼게 함으로써 영화를 한 차원 끌어올리고 있다. 하지만 이런 ‘환영적인 스펙터클’은 관객들에게 영화의 서사와 아우라(aura)를 온전하게 보지 못하게 하는 특징도 함께 보여주는 단점도 지니고 있다. There has been a change in the production of the movie and techniques of the expression in the digital technology which has been used universally since 2000. As the focus of the production system of the movie has moved from the production procedure centering around filming to the procedure centering around editing used by the digital tools. The flows and boundaries of the production system which is consist of pre-production, production and post-production are getting indistinct. In the point of view of aesthetics and technology, this kind of change expands the creativity and originality for the screenwriters and provides the reality and vitality which haven't been found in previous films for the audience. It also elevates the quality of the movie. However, this ‘illusionary spectacle' has a vulnerable point that shows the aura and details of the movie soundly for the audience.

소비에트 무성영화의 지가 베르토프 영화이론

전평국(Pyoung-Kuk Jeon),김노익(Noh-Ik Kim) 한국콘텐츠학회 2010 한국콘텐츠학회논문지 Vol.10 No.8

1920년대 소비에트 무성영화는 세계영화사에 있어 문화·예술적 측면에서 찬란한 번영을 일으켰다. 그중에서도 지가 베르토프(Dziga Vertov)는 세르게이 에이젠슈테인(Sergei M. Eisenstein)과 함께 당대 소비에트 영화의 핵심적 역할을 행사한 최고의 영화이론가이자 실천가였다. 하지만 베르토프의 영화이론은 오늘날까지도 에이젠슈테인에 비해 상대적으로 잘못 인식되거나 전수된 점이 많았다. 그러나 들뢰즈는 베르토프의 영화에 나타난 쇼트 자체가 어떤 의미나 충격을 전달할 수 있으며, 다큐멘터리가 지녀야할 ‘진실’에 초점을 맞춰 쇼트 자체에서도 의미를 이뤄낼 수 있다고 역설했다. 그의 영화이론은 미래주의와 구성주의에 바탕을 두어 ‘영화-눈’이라는 방법과 ‘간격’이라는 이론을 통한 ‘영화-진실’이라는 원리 그리고 ‘생활 있는 그대로’의 개념으로 요약·정리된다. 따라서 본 연구는 베르토프 영화이론의 핵심인 키노아이와 간격이론 등을 중심으로 에이젠슈테인의 몽타주론과 비교하면서 들뢰즈의 이미지론을 적용하며 심도 있게 분석·조망하고자 한다. 나아가 선행연구의 미비로 인한 베르토프의 영화사적 업적을 논의하기에는 역부족일 수도 있으나, 그의 다큐멘터리 영화 표현양식에 있어 혁신적인 방법과 그의 이론을 심층적으로 연구할 것이다. The Soviet Silent Films in the 1920s, produced a brilliant prosperity in the history of world films in the cultural and artistic aspects. Among them, Dziga Vertov was a film theorists and a practitioner along with Sergei M. Einstein played a pivotal role in the contemporary soviet films at the time. But the film theories of Vetro is incorrectly recognized or specialized compared to the theories of Eisenstein. But Deleuze has stated that the short in the movie of Vertov is able to deliver a meaning and an impact and he has emphasized that a short can be significant by itself by focusing on the ‘truth' which a documentary must have. His film theories are based on futurism and constructivism and use the ‘kino-eye’ method and ‘Interval' theory to summarize and organize his movies into ‘movie-truth’ principal and ‘life as itself’ concept. Deleuze the purpose of this research is to analyze with the Vertov core of film theory and every theory of kino eye as the foundation and by comparing the Montage Theory of Sergei Eisenstein and applying Deleuze's Image Theory. Furthermore, it can be insufficient to discuss the film commercial achievements of Vertov as a result of inadequacy of previous research but it will further study his innovative methods and depth of his theories in his representation form in the documentary films.