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RISS 인기검색어
- 검색키워드
- 저자 : 김낙호(Kim Nakho) (검색결과 2 건)
- 무료
- 기관 내 무료
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김낙호(Kim Nakho) 한국예술경영학회 2004 예술경영연구 Vol.5 No.-
This study intends to overview the history and functions of the ‘Centre National de la Bande Dessinee et de l’Image’(CNBDI: National Center of Comics and Images) in Angouleme, France to yield lessons for Korean counterparts. CNBDI is well renowned for its professionalism in organizing one of the best museums and libraries in the world dedicated to comics. It was originally intended as a extension of the annual Angouleme comics festival, however plans were established to make it into more than a mere museum. The functions of a media center was added, and therefore systematic collection of both old and new comics publications are being counducted. With such assets, it was born to be the discursive ground for comics and image industries in France, let alone Angouleme. CNBDI’s funtions as a museum mainly embrace collecting past and present materials on European comics, and conducting exhibitions. The exhibitions concentrate on displaying the museum’s collections in a way that maximizes the humor, wit and cultural vitality inherent to the comics medium. “The Imaginary museums”, which is the main hall exhibition for 2003-2007, is a striking example of such an approach. The center also functions as a library, and is effective as a hub in the festival activities as well. The main lessons that can learned from CNBDI is its horizontal organization structure, which grants a high level of motivation and responsibility to each professional member. Also, it is a structure that can easily be integrated with outside projects, such as the Magelis, which is a regional project that intends to bulid up the province of Charante into the center of image-based design industry including comics, animation, motion picture CG etc. However, the center has also shortcomings that act as a kind of counter-role model. One of those is the organization’s slow reaction to outside changes such as the Japanese manga boom in the French youth culture. Clinging to traditional forms of European comics, and focusing only on the young artistic visions that are directly based on them, it fails to answer the needs of the more inter-culturalized generation of comic readers. Also, CNBDI is slow to adapt to the online world of the internet, utilizing digital library technologies only on a very limited form. Korean organizations dealing with cultural infrastructures in comics should learn from such lessons to fulfil its objectives.
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