영화정책의 논리적 배경과 근거에 관한 일 고찰

최배석 한국영화학회 2002 영화연구 Vol.- No.20

Are movies and T.V. programs cultural artifacts? Or, are they commercial products subject to trade policies? This difference in attitude is directly linked to government policies and laws; it is an ideological problem that can produce conflicts between the producers and users of media products. In the center of the information highway is cinema, suitable for one-source multi-use, and it is none other than the Hollywood products that dominate the international market in this area. Since the 1970' s, the Third World countries have systematically put forth through the UNESCO a new paradigm called "the new information order," a resistant logic that asserts "the "free and fair flow," They have attempted to protect their own cultural values against the negative effects of the imported Western media. In response, United States and the European countries advocated the firm and unchanging value of "the free flow of information," maintaining that media products are industrial products rather than cultural. This discourse went into a deep recess when the U.S. and England, the primary financial supporters of the UNESCO, withdrew from the organization. France and other EU nations, deeply affected by the fall of their media industry since the WTO, revived the cultural argument at the UR conference. The U.S. responded with an adaptive attitude, announcing the dual pursuit of the cultural identity and free trade as equally valued paradigms, not as opposing ones. The apparent changing attitude of the U.S. is hardly a fundamental change in their belief; it is clearly a strategic approach to pursue their interest ultimately, that is to expand their new media market. It is important to note that this aims at the complete nullification of the protective cultural logic. This it to point out that the protective policy based on the cultural logic, whether it is supported by the exporters or importers, is fragile one that is likely to fail altogether; it can only create conflicts, not protection. The implication of this is that the Korean policy-making should be geared more towards the nourishment of competitive industrial environment that can embrace creativity and innovation, rather than insistent protection. The currents in the international economics are changing rapidly towards the unification of international markets and totally free competition. The Korean films industry has to learn to adapt to this logic and order, without which its survival and further development will be a flimsy possibility.

한중일의 정원에 나타난 자연주의 사상과 반영성

최배석 한국문화융합학회 2024 문화와 융합 Vol.46 No.1

본 연구의 목적은 한중일의 자연관과 정원관은 무엇이고, 자연주의 사상은 정원에 어떻게 표현되었으며특징은 무엇이며 또 그것의 미학과 현대정원에 전하는 메시지는 무엇인지를 탐색해 보고자 함이다. 문헌고찰 연구방법으로 수행되었고 그 결과는 다음과 같다. 첫째, 한중일은 인간은 자연과 조화로워야 한다는 천인합일의 자연관과 어떤 인위적인 것도 자연보다는 아름다울 수 없다는 공통된 자연 미학을 갖고 있다. 둘째, 한중일의 자연관과 정원관은 공히 샤머니즘, 유, 불, 도, 선, 풍수지리설, 음양오행설 사상에 영향을 받으면서도 서로 다른 개성 있는 정원문화를 형성했다. 셋째, 한국은 인간과 자연의 조화를 이루는 삶이 가장 순리적이라는 미의식 속에 인간의 간섭을 최소화하는 자연 친화적인 정원을, 중국은 자연물을 이동, 재구성하여 또 다른 자연을 만드는 다소 인위적인 정원문화를, 일본은 자연을 집 안으로 끌어들이고 관조하는 상징적인 정원예술을 만들어 왔다. 넷째, 한중일의 정원은 모두 자연 산수(山水)풍경을 지향하며, 화목(花木)이나 정원조성 구성물들에 상징성을 부여, 의인화(擬人化)하여 정원감상자를 사유세계로 변양 하는 기재로 삼는 점은 한중일에서 공통으로 나타나는 특징을 보였다. The purpose of this study is to explore what the views of nature and gardens of Korea, China, and Japan are, how naturalistic ideas are expressed and projected in gardens, what their characteristics are, and what their aesthetics and message are to modern gardens. It was conducted using a literature review research method, and the results are as follows. First, Korea, China and Japan have a view of nature that humans should be in harmony with nature. Second, the views of nature and gardens in Korea, China, and Japan were influenced by shamanism, Confucianism, Buddhism, Taoism, and Zen. Third, Korea has created nature-friendly gardens that minimize human interference, China has created a somewhat artificial garden culture that creates another nature by reconstructing natural objects, and Japan has created symbolic garden art that brings nature into the house and contemplates it. Fourth, the gardens of Korea, China, and Japan all aimed for natural landscapes and gave symbolism to garden compositions, making it a mechanism to transform garden appreciators into a private world.

한국 정원의 피에트 아우돌프(Piet Oudolf)정원 변증적 수용

최배석 한국문화융합학회 2023 문화와 융합 Vol.45 No.11

The purpose of this study is to dialectically embrace the naturalistic gardener Piet Oudolf's garden in Korea's naturalistic garden and explore the possibility of creating a new garden. Literature analysis and case studies were visited and studied. As a result of the study, first, the combination of the visual deformability of the flat garden Audolf Garden and Korea's curved and irregular topography can achieve the visuality of tactile perception. Second, the fusion of Audolf's pictorial garden with the Korean garden, which creates meaning by giving symbolism to garden compositions, can not only expand aesthetics but also give a sense of place through story telling. Third, in the Audolf Garden, where the garden components are monotonous, the installation of structures such as stones, pavilions, and pavilions can diversify the perspective, and the arrangement of shrubs and trees can provide richness to the garden. Fourth, the expanded visuality through the borrowed landscape method will broaden the horizons of garden appreciation and experience for visitors.

다채널 TV시대의 방송 소프트웨어 산업 육성에 관한 연구 : 독립프로덕션 육성 방안을 중심으로

최배석 단국대학교 공연예술연구소 1995 공연예술연구소논문집 Vol.1 No.-

Television 방송 비평 연구

최배석 단국대학교 공연예술연구소 1996 공연예술연구소논문집 Vol.2 No.-

사회경제적 지위가 문화적 자기효능감에 미치는 영향에 관한 연구

최배석(Choi, Bae Suk),변상호(Byeon, Sang Ho) 청운대학교 방송예술연구소 2015 미디어와 공연예술연구 Vol.10 No.2

본 연구는 사회경제적 지위(socioeconomic status: SES)가 문화적 자기효능감에 미치는 직접적인 영향을, 문화예술 콘텐츠 소비향유와 문화예술 지식을 통해 각각 간접적으로 미치는 영향들과 비교 분석하였다. 이를 통해 사회경제적 지위가 어떤 경로로 통해 문화적 자기효능감을 극대화시킬 수 있는지를 살펴보았다. 본 연구는 전국 단위의 성별·연령별 비례할당에 의한 무작위 표본(N=547) 추출에 근거하여 실증 분석하였다. 연구결과, 첫째 사회경제적 지위는 문화적 자기효능감에 정(+)적 영향을 미쳤을 뿐 아니라, 문화예술 콘텐츠 소비향유와 문화예술 지식을 매개로 하여 문화적 자기효능감에 간접적으로도 정(+)적 영향을 미쳤다. 둘째, 사회경제적 지위가 문화적 자기효능감에 미치는 이들 직간접적인 영향 사이에는 유의미한 크기 차이가 없었다. 셋째, 그러나 사회경제적 지위가 문화예술 콘텐츠 소비향유 활동을 증가시키고, 이것이 문화예술 지식을 높일 경우 문화적 자기효능감은 앞서 직간접적 영향보다 더 크게 증강된다는 사실을 발견하였다. 이는 단순히 사회경제적 지위만으로 문화적 자기효능감이 극대화되지는 않는다는 것을 시사한다. 즉 문화예술 콘텐츠 소비향유 활동과 문화지식의 증가가 같이 수반돼야 한다는 것이다. 끝으로 이론적·현실적 함의를 논의하였다. This study investigated how socioeconomic status has an effect on cultural self-efficacy. It also analyzed how the consumption of culture & art contents and the level of knowledge about culture & art mediate the effect of socioeconomic status indirectly and respectively. The sizes of direct and specific indirect effects were compared. A nationwide online survey was conducted with a stratified sampling(N = 547). This study found that (1) socioeconomic status has the direct and indirect effects on cultural self-efficacy; (2) the sizes of direct and specific indirect effects show no significant difference; (3) the effect of socioeconomic status on cultural self-efficacy is highly increased by the multiple-mediation of consumption of culture & art contents and the level of knowledge about culture & art. Theoretical and practical implications were discussed.

이준익 영화의 카니발리즘 연구

최배석(Choi, Bae Suk) 한국영화학회 2013 영화연구 Vol.0 No.55

This study analyzed how the chief characteristics of Mikhail Bakhtin’s carnival theory are realized in Lee Jun Ik’s movies, 〈Once Upon A Time In The Battlefield〉, 〈King And The Clown〉, 〈Blades of Blood〉, and 〈Battlefield Heroes〉, taking history as their subject matter and also what kind of new meaning the characteristics create for the audience. Dividing the main characteristics of Bakhtin’s carnival theory into four categories, this paper used them as the frame of reference for the analysis. First, according to the examination on 〈Once Upon A Time In The Battlefield〉 and 〈Battlefield Heroes〉 from the aspects of the carnivalization of war and the destruction and rollover of hierarchical order, they do carnivalization with the war itself as a gust of festival through the mechanism of satire and laughter and deconstruct the recognition on history, the fixed and lined-up formal culture. With this, the director builds a reversed carnival world and produces the world of freedom and equality. 〈King And The Clown〉 also shows the ‘delightful relativity’ of satire and laughter with the mask play and the square language and also the king’s degradation and the carnival characteristics of crowning and decrowning. Also, it has been discovered that 〈Blades of Blood〉, too, shows the decentration and deconstruction of carnivalism and conformity to the core value of revival and rehabilitation with the gaze at the world of hopes made by the negation of the oppressive ruling culture and the collision of human desire. Second, it has been found that from the aspects of square language and the destruction of formal speech codes, it acquires ambivalent value, that is, to secure freedom and equality through vulgar words, laughter, abuse, and insult over divinity or absolute power. Moreover, through the abuse, dialect, and the linguistic parody, it destroys formal speech codes, and also with the mechanism of laughter, it enhances the recognition on history and produces the multiphony of perception on reality. Third, from the aspects of distortion and grotesqueness of figures, either historical facts or figures were expressed in the forms of distortion, exaggeration, abasement, or satire. It is not about the character and image of a fixed figure in history but about the creation of a new figure, that is, the grotesque carnival characteristics of duplicity. In this way, it lays down the existing order of consciousness, and from various viewpoints, it provides another possibility to interpret the movie to see a new world. Fourth, it is about the aspects of historical satire and ideology. Watching historical films has the properties of projecting reality into them. All the films analyzed here have the ideology to provide previous value to the lives of grass-roots individuals rather than the value pursued by formal culture, that is, the macro-discourse value. 〈Blades of Blood〉 depicts the futility of producing the mixed collision of human desire to propose the sight to criticize reality. As written above, Lee Jun Ik’s movies let us reflect on reality with the mirror of laughter. And it has been found that the film aesthetics letting us acquire ambivalent value conforms to Mikhail Bakhtin’s carnivalism.

영화에 대한 사전지식이 추천 행위에 미치는 효과에 관한 연구

최배석(Choi, Bae Suk) 한국영화학회 2013 영화연구 Vol.0 No.58

This study investigated how individuals ‘acquired knowledge about a movie before viewing it influence their recommendation about it through their flow of viewing it and their attitude toward it. The data from nationwide survey with a stratified sampling were analyzed (N = 451). This study found that (1) The more knowledge about a movie, the stronger flow into viewing it; (2) The stronger flow into viewing a movie, the more positive attitude toward it; (3) the more positive attitude toward a movie, the more frequent recommendation about it; (4) knowledge about a movie before viewing it reinforce recommendation activity about, multi-mediated by attitude toward it following flow of viewing it. And theoretical and practical implications were discussed.

다양한 증진을 위한 프랑스 영상 정책과 극장의 역할

최배석(Choi Bae Suk) 프랑스문화예술학회 2009 프랑스문화예술연구 Vol.30 No.-

3D 입체영상의 성인멜로영화 적합성 연구

최배석(Choi Bae Suk) 한국영화학회 2011 영화연구 Vol.0 No.47

Is it possible to use the 3D effect like in "Avatar" for the movies of other genres, sports programs, documentaries and other similar programs of tragic (非?的) genre, to achieve the same effect? Can you experience the real feeling of spaciousness and depth of emotion in 2D that really contributes to the enhancement? Will 3D effects work for adult melodramas containing a lot of sexual scenes? These questions were put in the basis of this research and the empirical analysis was performed to show what effect it would have on the viewers. To complete this study, we need to use more effective research methods than quantitative methods as it is difficult to be physically engaged in such researches, the method of "focus group" was chosen where professionals related to production of 3D movies were engaged in detailed discussions to examine the research questions. The results of our research confirm the results of previous researches as well as bringing out some new facts. The display size, the viewing distance to create a sense of reality, the limitations of sharpness of definition in adults melodramas were analyzed. We collected the comments on the technical aspects of production of the adult melodramas, the importance of camera position and angle, usage of cranes. In addition, 3D images than we expected to contribute to the emotional perception of adult melodramas turned out to be not that effective. If from the beginning the movie was not planned as a 3D movie, if it is not a CG movie or a movie with the elements of animation, to put it in other words, the movie is fully realistic, there are limited benefits of 3D effects for such kind of movies. Further research of technical means to create 3D effects for fully realistic movies required. The research is limited due to the restriction of the viewers aged under 18 as well as the absence of AV private rooms for watching such kind of movies.