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      장르의 속성에 대한 고찰 = A Theoretical Exploration on Film Genre

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      https://www.riss.kr/link?id=A75436709

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      다국어 초록 (Multilingual Abstract)

      As a term indicating for type or kind, genre is employed in film studies for dividing films into categories which are composed of a set of interrelated stories and associated images. The most popular genres include such genres as melodrama, war films, crime movies, action, martial arts, horror, comedy, the Western, musicals. In these categories, narratives become generic by virtue of heavy repetition with relatively unchanging formulas. In this view, the concept of genre is more associated with similarity. Within the circle of film criticism, therefore, the concept of genre begins with researches on the finding of similarity among films. Each genre is differentiated according to narrative formulas and images, assuming that each one is pure. Each one seems to be mutually exclusive, even though we can seldom find this aspect in a corpus of researches in recent film studies. The genre organizes large numbers of individual works into a coherent system. Genre studies plays a significant role in both making certain categories and of justifying the classifications once they have been made. As Rick Altman (1999) emphasizes, however, we are finding that genres are far from exhibiting the homogeneity that this kind of a synchronic approach posits. The idea of genre as a stable system has been considered to be natural either in industrial circles or in film criticism. If we can scrutinize recent studies on genre, however, it is easily found that recent works have tried to overcome the idea of genre as a stable system. It is because the concept of the genre has a tendency to limit the free play of signification. Furthermore, some scholars (ironically, most scholars in genre studies) found that genre is already unstable and there is little agreement on what exactly genre means or whether the term has any use at all. Following recent discussions on film genres (Altman, 1999; Beebee, 1994; Berliner, 2001; Buscombe, 1995; Feuer, 1992; Tudor, 1995), I want to discuss films genre, focusing on what aspects are significantly considered in recent studies. In this study, the idea of genre as a stable system has a role of the guiding principle. But this study is more associated with the fluctuation of film genre. The purpose of this study lies, therefore, in a theoretical exploration on this fluctuating nature of genre. The fluctuation of genre will be discussed by four aspects: 1) historical transformation of genre, which change establishing rules and conventions 2) the existence of subgroups within a specific genre, most of which seldom possess similarity 3) the diverse and complex structure of narrative within a genre, which sometimes creates different viewing experience 4) the hybridization of genre, whose recent trends emphasize that no genre film is pure. The discussion of these aspects will be useful for future genre studies, providing a way of rethinking on the ambiguity of generic boundaries and the complication of genre conventions.
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      As a term indicating for type or kind, genre is employed in film studies for dividing films into categories which are composed of a set of interrelated stories and associated images. The most popular genres include such genres as melodrama, war films,...

      As a term indicating for type or kind, genre is employed in film studies for dividing films into categories which are composed of a set of interrelated stories and associated images. The most popular genres include such genres as melodrama, war films, crime movies, action, martial arts, horror, comedy, the Western, musicals. In these categories, narratives become generic by virtue of heavy repetition with relatively unchanging formulas. In this view, the concept of genre is more associated with similarity. Within the circle of film criticism, therefore, the concept of genre begins with researches on the finding of similarity among films. Each genre is differentiated according to narrative formulas and images, assuming that each one is pure. Each one seems to be mutually exclusive, even though we can seldom find this aspect in a corpus of researches in recent film studies. The genre organizes large numbers of individual works into a coherent system. Genre studies plays a significant role in both making certain categories and of justifying the classifications once they have been made. As Rick Altman (1999) emphasizes, however, we are finding that genres are far from exhibiting the homogeneity that this kind of a synchronic approach posits. The idea of genre as a stable system has been considered to be natural either in industrial circles or in film criticism. If we can scrutinize recent studies on genre, however, it is easily found that recent works have tried to overcome the idea of genre as a stable system. It is because the concept of the genre has a tendency to limit the free play of signification. Furthermore, some scholars (ironically, most scholars in genre studies) found that genre is already unstable and there is little agreement on what exactly genre means or whether the term has any use at all. Following recent discussions on film genres (Altman, 1999; Beebee, 1994; Berliner, 2001; Buscombe, 1995; Feuer, 1992; Tudor, 1995), I want to discuss films genre, focusing on what aspects are significantly considered in recent studies. In this study, the idea of genre as a stable system has a role of the guiding principle. But this study is more associated with the fluctuation of film genre. The purpose of this study lies, therefore, in a theoretical exploration on this fluctuating nature of genre. The fluctuation of genre will be discussed by four aspects: 1) historical transformation of genre, which change establishing rules and conventions 2) the existence of subgroups within a specific genre, most of which seldom possess similarity 3) the diverse and complex structure of narrative within a genre, which sometimes creates different viewing experience 4) the hybridization of genre, whose recent trends emphasize that no genre film is pure. The discussion of these aspects will be useful for future genre studies, providing a way of rethinking on the ambiguity of generic boundaries and the complication of genre conventions.

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      참고문헌 (Reference)

      1 "할리우드 장르의 구조" 19811991

      2 민음사, "한국영화사연구모임 한국 멜로드라마의 지형도 그리기" 민음사 1999

      3 김경, "한국 멜로드라마의 변화와 수용" 민음사 1999

      4 원용진, "텔레비전 비평론" 한울아카데미 2000

      5 박인하, "일본 애니메이션 장르 연구:마법 소녀물을 중심으로" (3) : 84-111, 1999

      6 유지나, "멜로드라마란 무엇인가" 민음사 1999

      7 김지혜, "멍든 눈으로 바라보는 세상" 민음사 1999

      8 "University of California Press" 1976

      9 Cawelti,J, "The Six-Gun Mystique" Bowling Green University Press 1970

      10 Beebee, "The Ideology of Genre A Comparative Study of Generic Instability The Genre Film as Booby Trap" University Park Pennsylvania State University 25-46, 19942001

      1 "할리우드 장르의 구조" 19811991

      2 민음사, "한국영화사연구모임 한국 멜로드라마의 지형도 그리기" 민음사 1999

      3 김경, "한국 멜로드라마의 변화와 수용" 민음사 1999

      4 원용진, "텔레비전 비평론" 한울아카데미 2000

      5 박인하, "일본 애니메이션 장르 연구:마법 소녀물을 중심으로" (3) : 84-111, 1999

      6 유지나, "멜로드라마란 무엇인가" 민음사 1999

      7 김지혜, "멍든 눈으로 바라보는 세상" 민음사 1999

      8 "University of California Press" 1976

      9 Cawelti,J, "The Six-Gun Mystique" Bowling Green University Press 1970

      10 Beebee, "The Ideology of Genre A Comparative Study of Generic Instability The Genre Film as Booby Trap" University Park Pennsylvania State University 25-46, 19942001

      11 Buscombe, E, "The Idea of Genre in the American Cinema" University of Texas Press 1995

      12 "The Crisis in Movie Narrative" 1-15, 1989

      13 Elsaesser, "Tales of Sound and Fury Observations on the Family Melodrama" mo (mo): 2-15, 1972

      14 Bourget, J, "Social Implications in the Hollywood Genres" University of Texas Press 1995

      15 Metz,C, "Language and Cinema" The Hague 1974

      16 Maltby, R, "Hollywood Cinema" 1995

      17 "Genre Film and the Status Quo Film Genre Reader" University of Texas Press 1995

      18 Collins, "Genericity in the Nineties Film Theory Goes to the Movies" Eclectic Irony and the New Sincerity 1993

      19 Haskell,M, "From Reverence to Rape" Penguin Books 1974

      20 Lopez, "Films By Genres" 775-, 1993

      21 Altman, R, "Film Genre" 1999

      22 "Contemporary Women's Fiction:Narrative Practice and Feminist Theory" University Press of Mississippi 1989

      23 Feuer, "Channels of Discourses University of North Carolina Press" 1992

      24 Altman, R, "A Semantic/Syntactic Approach to Film Genre" 23 (23): 6-18, 1984

      25 김유리, "<자유부인> 영화들. 멜로드라마란 무엇인가" 민음사 1999

      26 김윤아, "80년대 한국 영화의 장르 추세 연구" 184-220, 2000

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      2026 평가예정 재인증평가 신청대상 (재인증)
      2020-01-01 평가 등재학술지 유지 (재인증) KCI등재
      2017-01-01 평가 등재학술지 유지 (계속평가) KCI등재
      2013-01-01 평가 등재학술지 유지 (등재유지) KCI등재
      2010-01-01 평가 등재학술지 유지 (등재유지) KCI등재
      2007-01-01 평가 등재학술지 선정 (등재후보2차) KCI등재
      2006-03-21 학회명변경 한글명 : 한국지역언론학연합회 -> 한국지역언론학회 KCI등재후보
      2006-01-01 평가 등재후보 1차 PASS (등재후보1차) KCI등재후보
      2004-01-01 평가 등재후보학술지 선정 (신규평가) KCI등재후보
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      기준연도 WOS-KCI 통합IF(2년) KCIF(2년) KCIF(3년)
      2016 1.27 1.27 1.55
      KCIF(4년) KCIF(5년) 중심성지수(3년) 즉시성지수
      1.62 1.59 2.189 0.47
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