학교단위교육결정과정 모형탐색 및 실천과제

김소동(Kim So Dong) 한국교육행정학회 2004 敎育行政學硏究 Vol.22 No.1

본 연구에서는 문헌분석을 통한 SBCM의 개념 및 이론적 배경을 토대로, SBCM 모형탐색과 실천방안을 제시했다.<br/> SBCM 모형의 고려요인으로 ①학교장, 교사, 학생, 학부모·지역인, 중앙정부·지방교육청과 이들을 대표한 학교운영위원회, ②교육과정결정과정, ③교육과정과업, ④환경적 요인 등을 도출하여, 이들의 총체적이고 입체적인 SBCM 모형은 <그림 Ⅲ-1>과 같이 도시했다.<br/> 그리고 SBCM 모형적용을 위한 방안으로는 ①합리적 참여 제고, ②학교장의 지도성 함양, ③학교운영위원회 위상 확보, ④관련구성원들의 전문성 신장, ⑤평가체제의 개선, ⑥실험학교운영을 통한 검증화, ⑦교육과정위원회 운영의 내실화 등으로 탐색되었다. The seventh curriculum need to apply the SBCM. This study aimed to search the school based curriculum making model.And yet we can't find the very deep research about the SBCM. This research provides the model investigation and practice task of the SBCM based on its theoretical survey and concept through bibliography analysis.<br/> The notion of SBCM is defined by describing relations between SBCM and SBM and the background of SBCM in the theoretical background, Next, the attitudes of the members of SBCM and the roles and functions of school committees which are composed of the members of SBCM are illustrated. and relevance, professionalism and reliance are presented to select appropriate participants.<br/> Then, the process of SBCM is described by presenting the process of plan, implementation, and evaluation. Finally some suggestions are drawn by giving careful consideration to international trends on the SBCM.<br/> The model of the SBCM will include as followings: 1) principal, teacher, student, parents and local member, goverment, local educational office, school board, 2) decision making process of the curriculum, 3) curriculum task, 4) environmental element, and these general and vertical models of the SBCM provides as the (picture 2).<br/> Finally, for applying the model of SBCM, real analysis showed that there are inefficiency of school based curriculum plan, inconsistency of curriculum performance, shortage of professionalist, inactive participation of school faculty, and absence of actual evaluation system. And the practice tasks for the SBCM model consist of as follows 1) rational participation offer, 2) principal's guideline cultivation, 3) position security of school board, 4) professional upgrade of the school based memberships, 5) improvement of school eva1uation systems 6) inspection through experiment school operation for the SBCM, 7) systematization of the school curriculum committee operation.<br/> In the other hand, because this research is mainly based on the bibliography, we shall run after the experimental research to be supplemented and to be modified through the educational situational application.

戦争史의 側面에서 본 映画芸術의 平和寄与

金蘇東(KIM So Dong) 한국영화학회 1978 영화연구 Vol.- No.2

作品과 그 印像에 關한 硏究

金蘇東(Kim So-dong) 한국영화학회 1974 영화연구 Vol.- No.1

映畵의 文學的領域과 言語問題

金蘇東 漢陽大學校 1971 論文集 Vol.4 No.-

Introduction 1. Preface 2. What does montage do on the firm. 3. Scenario and its literary characteristics. 4. Differences between Film and Drama. 5. Film dialogue and language. 6. Conclusion. 1. Preface 1) The film is presented to its audience not in a narrative way throngll a visual, verbal and aural medium. 2) Describe how to be brought to clearness about the similarities and differences between novel and firm. 3) Study in case of novels in to film and filmed novels. 4) The function of color on the screen nay become as important an element in film technique as photography and sound. 2. What does montage do on the film. 1) About the necessity of study to know the literary portion in the cinema and how literature affects on film by researching of the fundamental conception of the film art (L'art Cinematique) 2) Literary expression stimulates one's spritual world as a static condition but visual and verbal montage leads to dynamic. 3) 7he film has acheived as a new art today and the frequently heard view that cinema is not art should be rejected. 4) Comparative study of montage theories. (It is easy to research the contemporary film by comparing the elements of montage each others.) . A. Lef Kuleshov's "The foundation of cinema study" B. V.I. Pudovkin's "Film techinique and film Acting" C. Sergei M. Eisenstein's "Film form and· film sense", "Montage 1939" D. Semion Timoshenko's "Film art and montage" E. Rudolf Arnheim's "Film as Art" F. Bela Balazs's "Kino and socialistic realism" G. Louis Delluc's "Photogenie" H. Leon Moussinac's "Visual Rhythm" (Naissance du Cinema) I . Jean Epstein's "Cine Poem" "Photogenie de L'impondrerable" J . paul Rotha's "The film till now" "The film today" K. Raymond Spottiswoode's "A Gramar of the film" 5) In the film today, it is not the problem to combine shots one by one so as to composc a story line but rather to make every shot relevant to the present age. 3. Scenario and it's literary characteristics. 1) To reconfirm that the film is art enable gives us an easier Ivay to study the literary characteristics of scenario. 2) Drama has been known as a field of literature because it consists of words. In the same way scenario can rise to the level of literature by using verbal medium. 3) Scenario has been recognized as a sort of work diagram for the movie director by a number of people but it should be understood as a 'literature of induction' for the film director's spritual world. 4) How should novels be adapted for the movies? 5) Scenario has a powerful possibility to express its contents more than novel dose because the film art has an image, sound and color, which are real elements of our real life. 4. Differences between Film and Drama 1) Film art has taken on more literary characteristics by having the cinema-turfy since the advent of dialogue with the sound film. 2) To study again the movements of "Film d'art" may be an important reference to clear the relations between film and drama. 3) About the dramatic film and filmic drama. Ex. A. Dramatic film : "Detective story" Henry ling's stage play Directed by william wyler B. Filmic Drama "Henry V" Shakespeare's Drama Directed by Laurence olivier 4) It is an urgent problem how to extract out space and time problem from aim into drama, equally film has to get dialogue and action from stage. 5. film dialogue and language 1) Comparison of talkie film with silent picture. For talkie; "No art can be compared in beauty with reality" -Sergei M. Eisenstein. For silent : "Dialogue narrows the world of the film:' -Rudolf Arnheim. 2) Only language is all in the not·el and in the same way, Image, sound and dialogue are all in the contemporary firm. 3) Dialogues are not only a simple conversation but they have literary characteristics because they are the writer's language as they are his literature. 4) Rhythmic dialogue. An emotion contained in the dialogue stimulates the partner's nerve and makes him respond with emotional speech and excited action. We can find a wonderful rhythm of speech through the continuous exchange of those dialogues between each other. 6. Conclusion 1) Scenario is inevitably composed of two parts of sentences in which we can find dialogue part and the other. As scenario writer regards the dialogue as an important thing so the sentences of the other part also important for him from the viewpoint of literary characteristics at the same specific gravities of whole scenario. 2) Film must increase it's artistic Qualities not only by the literature of dialogue but by the literary characteristics of the whole scenario. 3) Always actors deeply think of dialogue which controls their actions all over the film because action is emotionally connected with language. But sometimes we find that the language expresses diametrically opposite meaning from thinking. Ex. The cases of these; (1) Though he loves her so much but his language means he does not love her. (2) His dialogue is "I'm not sad." but in fact he is weeping in his mind. (3) Some times we make a lie consciously. etc. (4) About Sergei M. Eisenstein's claim : "The intellectual film is the only thing capable of overcoming the discord between the speech of logic and the speech of imagery.", (5) Korean language in the film. (6) As literature attempts (james Joyce) to express the inner processes of thought and emotion, film has to research how to describe the process of the mind visibly.

言語가 映像에 미치는 影響과 그 聽覺的 Rhythm에 關한 硏究

金蘇東 漢陽大學校 1972 論文集 Vol.6 No.-

Introduction 1. Preface 2. How language is related to image. (1) Gesture language. (Cinema language) (2) living language (Conversation) 3. How language is Connected with life environment. (1) Episode and it's background (2) Dialogue and it's expression 4. How language is related to rhythm. (1) Conscious expression and it's rhythm (2) Poetry and it's way of expression (3) Poetry and it's rhythmic structure 5. Dialogue and it's aural rhythm. (1) Internal rhythm (2) External rhythm 6. Conclusion (1) The relation between language and image (2) Dialogue and it's aural rhythm 1. Preface 1) To research how language (Conscious Voice) affects on the image (Visible form) is the most important study of film art because the sense organs of a man immediately rush in to the process of recognition when a human emotion and consciousness are communicated. 2) On the screen, action causes some kind of language just as every dialogus is connected directly with some type of action. 3) Language is a conception of recognition and at the same time it should be regarded as an individual human state. 4) Though so many theories about visual rhythm of image have been studied long since, the more important problem of aural rhythm in the conversation has been unsolved so far. 2. How language is related to image. 1) Under an illusive process of recognition, we feel a perfect real life from the presentation of images on the screen, but even if these excellent images present a living life, we can no more keep endurance to appreciate them without language because conversation is an important element of realism. 2) Cinema language Any of highly educated intelligent people of to-day do not desire to understand a theme of film by a suggestion, hint or judgement (by Cinema language) but want to comprehend things rapidly and exactly because he is living in the material civilization surounded with scientific ultra speed, variety of tempo and the complicated rhythm of the age. 3) Conversation An excellent charm of dialogues leads image to give a deep impression upon our mind, by the same way as an intellectual dialogue of modern language makes image to present a realistic emotional sensitivity of modern people. 3. How language is Connected with life environment. 1) Episode and it's back ground A. Sometimes, back ground expresses the more abundant emotion of episode than language. B. It should be remembered that a good piece of artistic film is not determined by how the fact of incident is communicated in detail but, by how it exactly expresses the truth in terms of the reality of background. 2) Dialogue and it's expression The sensuous quality and sharp expression of dialogue with an ability to present a keen state of reality can move our mind to-day 4. How language is related to rhythm. 1) Conscious expression and it's rhythm. A. The universe consists of numberless elements of rhythm and we live among them and are surounded by them. B. Mankind created a language at their will and imitated the rhythm of nature in their language. 2) Poetry and it's way of expression. A. We can find the worth and beauty of language in the visual rhythm (Sentence) of poetry and can hear the charm and music of language from it's aural rhythm. B. An internal rhythm of consciousness and an external rhythm of aural beauty make us not only feel the clear conception of emotion but receive wonderful images in our mind. 5. Dialogue and it's aural rhythm. 1) Internal rhythm. A. Dialogue stimulates the listener's mind psychologically and the listener replies with a stimulant dialogue to the speaker. Such a repetition of exciting dialogues forms a chain of spiritual rhythm. B. Aural rhythm also should be considered in terms of the theory of conflict just as Eisenstein explained his montage of shot as a conflict because the aural rhythm conflict with each other so that it may become an chain of stimulation and becomes a montage of dialogue by the aural rhythm. 2) External rhythm A. As a shot is one of continuous images so dialogue is a short piece of lasting consciousness to create real life. B. The harmonious melodies of 'La traviata formed by the emotional rhythm make us fall in to the sensuous impression, just as the splendid aural rhythm of dialogue does so. 6. Conclusion 1) Soviet theorists had so firm a belief to achieve a film montage by the creation of visual conception and they thought those principles of montage could communicate the whole contents of theme perfectly to the audience, but the montage of shots is still far from the full expression of real living. 2) French theorists wanted to extract a genie or a soul from the suggestion of images composed by the visual rhythm and they endeavored with their confidence to reproduce an human life by the presentation of spiritual photographs and visual rhythm of images, but they couldn't describe the reality of life. 3) Now, in the contemporary film, verbal consciousness has to complete the unity of meaning with the help of images and visual consciousness must be systematized by the supplement of languages for the comprehension of the exact intention of author. 4) The aural rhythm of dialogue is an indispensable element of film art to-day, so anyone hardly feels a real life or our age on the screen without it.