미셸 푸코 재고찰 : 담론 이론이 영상문화연구에 대하여 갖는 함의를 중심으로

황인성 ( In Sung Whang ) 한국커뮤니케이션학회 2007 커뮤니케이션학연구 Vol.15 No.4

논총(論叢) : 사업예산제도(事業豫算制度)에 의(依)한 육군(陸軍)의 관리(管理)

황인성 ( In Sung Whang ) 국방대학교 안보문제연구소 1961 국방연구 Vol.11 No.-

인터랙티브TV 드라마와 수용자 간의 상호작용성에 관한 연구

황인성(In-Sung Whang),정문열(Moon-Ryul Jung),장민선(Min-Sun Jang) 한국방송학회 2004 한국방송학보 Vol.18 No.4

영화〈꽃잎〉과 〈화려한 휴가〉의 영상 재현과 대중의 기억(Popular Memory)이 구성하는 영화와 역사의 관계에 관한 연구

황인성(Whang In Sung),강승묵(Kang Seung Mook) 한국영화학회 2008 영화연구 Vol.0 No.35

The purpose of this article is to explore the relationship between film and history based on the critical concepts and theories of visual representation in film and popular memory. In order to do this, this paper studies how visual representations of film in general, and those of A Petal and Remember U 518 cases in particular, describe the history of 5ㆍ18 Gwang-Ju Democratization Movement on the basis of 'memories' that are embedded in the complex relationships between the present and the past as well as between the history and historicity. Finally, the case study in this paper has come to an conclusion that the films only offered a partial and limited perspective regarding historical events that are especially sensitive in terms of politics all around the country. So, based on this conclusion, we suggest that the formation of popular memory tends to be negotiated and heavily influenced by the relationship between the past and the present. Futhermore, we argue that Korean films in this case function as the device of public representation that reinforces the official history through re-construction and re-production of the dominant memories.

‘트렌디 드라마’의 서사구조적 특징과 텍스트의 즐거움에 관한 이론적 고찰

황인성(Whang In-Sung) 한국언론학회 1999 한국언론학보 Vol.43 No.5

텔레비전의 미ㆍ이라크 전쟁 보도와 미국식 오리엔탈리즘

황인성(In-Sung Whang) 한국언론학회 2004 한국언론학보 Vol.48 No.3

The basic assumption of this study has been that television journalism is not just a passive means of information transmission, but an active apparatus that produces knowledge of reality, maintaining its dynamic relationship with power. Along with this assumption, this study attempted to examine how television journalism had constructed the reality of U.S.ㆍIraq War through the case study of KBS television news texts. It also tried to discuss how such a reality construction was related to the discursive formation of new American imperialist Orientalism and how the major characteristics of that discursive formation were compared to the conceptual characteristics of Said's Orientalism. Finally, this paper argues the following. As we consider the 21st century as the actual beginning of realization of so-called 'global village,' the American Orientalism will put aside the geopolitically oriented traditional distinction between the West and the East and instead pursue the new type of 'symbolic boundaries' which stress the traits of such extremely moral binary oppositions as 'good' : 'evil', 'we' : 'they', 'civilization' : 'barbarism', 'science' : 'non-science', and 'order' : 'disorder'. And the U.S. needs to produce various kinds of knowledges with regard to politics, economy, society, culture, religion, science, history, etc. in order to keep the new type of American Orientalism alive. Television can be one of those major apparatuses that produce and disseminate such kinds of knowledges.

한국 대중문화의 의식구조에 관하여: 무당 샤머니즘과 겝서의 의식구조 모델

황인성 ( In Sung Whang ) 한국커뮤니케이션학회 2004 커뮤니케이션학연구 Vol.12 No.1

영화와 텔레비전의 소수집단 현실 구성방식에 관한 비교연구

황인성(Whang In-Sung) 한국영화학회 2004 영화연구 Vol.0 No.23

The basic assumption for this study has been that mass media do not simply ret1ect the social reality of certain groups of people in passive manner, but instead actively participate in constructing it through the use of various types of representation. Along with this assumption, this study attempted to examine how 〈Bad Movie〉, a film and 〈Follow-up News〉, a current affair television documentary had constructed the reality of delinquent teenagers in our society, and tried to grasp the implications of two different realities so-constructed. What the case study has revealed is like the following, 〈Follow-up News〉 appears to be a sequel of 〈Bad Movie〉 in the sense that the same characters appeared in both texts and that the story of the episode of 〈Follow-up News〉 was actually a follow-up of the stories with regard to the same characters who showed up in 〈Bad Movie〉. And 〈Follow-up News〉 appropriated some of sensational scenes of 〈Bad Movie〉 very strategically in the process of constructing the reality of the target delinquent teenagers. In this process, the techniques of, I would call, 'de-contextualizarion' and 're-contextualization' was utilized in the process of transforming original meanings of the scenes. And, this whole process also resulted the transformation of the open form of narrative structure of the story regarding the same teenagers into the closed one. Finally, this study can argue that the medium of film seems relatively more progressive than television in its treatment of socially serious problems.

텔레비전 토크쇼〈이제 만나러 갑니다〉(채널 A)의 탈북 여성들의 사적 기억 재구성 방식과 그 의미에 대하여

태지호(Ji-Ho Tae),황인성(In-Sung Whang) 한국언론정보학회 2012 한국언론정보학보 Vol.60 No.4

본 논문의 목적은 텔레비전 토크쇼 〈이제 만나러 갑니다〉(채널A) 사례연구를 통해 탈북 여성의 북한에 대한 기억이 재현되는 방식을 살펴보고 그 사회적 함의에 대해 논의하는데 있다. 본 논문은 우선 최근 사회과학 분야에서 ‘기억’이 왜 중요한 화두로 부상하게 되었는지 ‘기억’과 ‘역사’의 갈등적 관계 속에서 살펴보았다. 다음으로는 ‘집단기억’과 ‘문화적 기억’ 개념, 그리고 ‘기억’의 ‘사회적’ 속성 등에 대해 살펴본 후, 사람들의 개인적인 ‘기억’을 중심내용으로 하는 텔레비전 토크쇼를 ‘기억의 터’ 개념과 관련해서 논의했다. 분석방법론으로는 서사론적인 가정에 입각하여 통합체와 계열체 두 차원에서 행하는 구조적 텍스트분석 방법을 활용했다. 연구 결과 논의된 점은 다음과 같다. 우선 〈이제 만나러 갑니다〉에서 탈북 여성들이 드러낸 과거 기억들은 이념적이기보다는 개인적인 차원의 일상사적인 관심거리 중심이고, 이들은 우리 사회의 지배적인 공적 기억과 갈등적 관계에 존재한다. 하지만, 〈이제 만나러 갑니다〉는 그들의 기억을 특정한 방식으로 재구성함으로써 그들을 ‘타자화’하고 결국 우리 사회의 지배적인 공적 기억 유지에 기여한다. The purpose of this study is to explore how North Korean woman defectors’ memories of their past lives are represented in Korean television talk show, 〈Now, I’m Coming to Meet You〉(Channel A, 2011∼) and its social implications. In order to carry out this task, this study first discusses the emergence of the concept of ‘memory’ in its relations with ‘collective memory’, ‘cultural memory’ and ‘history’, and its social appropriation in media such as television. And, the ideological aspects of the recent trend of television talk show that deals with people’s private memories were also discussed. The study used the method of structural narrative analysis. The findings are the following. First of all, North Korean woman defectors’ memories in 〈Now, I’m Coming to Meet You〉 collide with the dominant public memories in South Korea. In any case, it has been found that the show tended to make North Korea and their defectors as exotic ‘others’ and thereby reinforce the existing public memory. After all, this study argues that the representation of the defectors’ memories in the talk show only results in stressing the melodramatic narrative emotionally packaged with ‘laughing’ and ‘crying’ without any sincere consideration of them.

영화에서 드러나는 한국전쟁에 대한 집단기억과 대중기억 만들기

태지호(Ji-Ho Tae),황인성(In-Sung Whang) 한국언론학회 2014 한국언론학보 Vol.58 No.6

The basic assumption of this paper is that ‘memory’ is something socially produced, maintained and changed through various cultural representation systems, and thus our memory regarding Korean War should be considered rather as something socially constructed not as something objectively related to that War itself as a historical fact. In this context, The purpose of this paper has been to study what kind of memory about Korean War has been produced or reproduced by the recent Korean War films including Taegukgi, Welcome to Dongmakgol, Into the Fire, and The Frontline. Some concepts of narrative theory have been used as methodological tools in the analyses and interpretations of the films on the narrative dimensions of story and discourse. After all, the study discusses the following two things. The first one is that, the films under study do not deal much with the issue of ideological confrontation between the South and North Korea in its relation with official memory in the former. They rather deal with the issue in terms of personal feelings or sentiments that the minority groups of people from both Koreas may have, leaving the ideological issue behind. The second is that the films tend to construct our memory of Korean War by means of representing various violent spectacles that consequently help weaken the serious meanings of brotherhood, fantasy, patriotism, the sense of madness of war and so forth.