현대 사극 드라마 속 헤어스타일에 관한 연구 - 2010년부터 2015년을 중심으로 -

이서희 한국일러스아트학회 2016 조형미디어학 Vol.19 No.1

Hair style in historical drama represents an important element for character expression revealing the status and personality. Characters in traditional historical drama need to make viewers feel as if they were witnessing contemporary times based on epochal and cultural background of concerned era, thus making them engrossed in drama. In this study, we selected 6 historical dramas broadcast on TV in the period between 2010 and 2015 and conducted comparative analysis of hair styles with a focus of main characters in each drama. We analyzed hair styles featured in 6 historical dramas, and the results were as follows: First, traditional historical dramas should re-create concerned era through historical research. However, there is the problem that historical dramas can cause misconception in adolescents or foreigners, who are viewers of Korean historical dramas, towards Korean tradition when convenience of actors/actresses and filming(shooting) takes precedence. Second, the possibility of confusion should be eliminated through unambiguous disclosure that the dramas are fiction in the case of fusion historical dramas. The author hopes that research would be performed on hair styles of more varied eras, along with research suited for fusion historical dramas and new creation activities, to promote development of historical dramas in the period ahead. 사극 드라마에서 머리 형태는 신분과 성격을 나타내는 캐릭터표현의 중요한 요소이다. 전통사극의 인물은 그 시대적, 문화적 배경을 바탕으로 동시대를 보고 있는 듯한 실제와 같은 느낌을 주어 극에 몰입할 수 있게 해야 한다. 본 논문은 2010년부터 2015년 에 방영된 TV사극 드라마 6편을 선정하여, 각 작품별 주인공을 중심으로 머리 형태를 비교, 분석 하였다. 6편의 사극 드라마의 헤어스타일을 분석한 결과 다음과 같다. 첫째, 전통사극은 고증을 통해 그 시대를 재현해야한다. 그런데 배우와 촬영상의 편의를 위해 대체하는 경우 이러한 사극드라마를 보는 청소년이나 외국인들에게 잘못된 한국 전통을 알리게 되는 문제점이 파악되었다 .둘째, 퓨전사극드라마라면 확연하게 창작이라는 점을 보여줘 혼동의 소지를 없애야 할 것 같다. 앞으로 사극 드라마의 발전을 위해서는 더 많은 다른 시대에 관한 머리형태연구와 퓨전사극에는 극에 맞는 연구와 새로운 창조 활동이 이루어지길 바란다.

역사와 고구려 드라마 ‘연개소문’

김용만(Kim Yong-man) 고구려발해학회 2007 고구려발해연구 Vol.28 No.-

Everywhere we look, it is apparent that television dramas have become a cultural product enjoyed by the masses, a phenomenon that has become a symbol of pop culture today. But historical dramas have set themselves apart from other dramas by virtue of the ability provide historical knowledge to the audience, and naturally, has an influence that far outstrips any history book. It is because of this that no serious historian can stay ignorant or indifferent to production of historical dramas. Because of its portrayal of a controversial historical character from Korean history and the great war between the ancient Korean state of Koguryo against Sui and Tang dynasties of China, Korean audiences flocked to watch 〈Yongaesomun〉, a 100-episode historical drama produced and broadcast by Seoul Broadcasting System from July of 2006 to June of 2007, which maintained a high viewer rating during the duration of the broadcast. Yet despite declaration from the producers of 〈Yongaesomun〉 that their drama would faithfully take actual historical events into account, the drama never quite lived up to that promise. The problems with 〈Yongaesomun〉 are manifold, but can be divided to four major aspects. The first and the most outstanding error concerns the arrangement of the script itself. Aside from episodes 1 and 2, which formed the introduction, episodes 3 to 54 formed the first half, and the rest (episodes 55-100) formed the second. Yongaesomun himself, the namesake for the entire drama, was actually the main character only ill the second half. The writer's biased interest in a specific part of history made Yangdi of Sui the central figure if the first half, with Yongaesomun relegated to a minor role. Such an arrangement is an error of monumental proportions, for Yangdi and Yongaesomun have never personally met each other and, more importantly, lived generations apart. A mistaken attempt to connect the two characters mixed up the actual order of historical events as well as seriously skewing the relationships between the major characters. A warped timeline became a critical error that doomed any claims about 〈Yongaesomun〉 as a serious historical drama. The second error is no less glaring, in that it bent basic historical fact. Aside from the changing of order of historical events mentioned above, the roles assigned to a number of characters revealed wide discrepancy with the actual role they played in history. Though there is room for imagination or certain amount of fiction in a drama, a historical drama is different in that the basic facts that form the background of the story must adhere to the truth. Anything that allow pieces of fiction that contradict basic fact to enter the story line, is at best historical fusion or fantasy, and has no right to be called a historical drama. Third, the drama was dripping with fatalism and the writer's hero worship. The fatalism that was revealed many times in the drama, which claims that there are things in history that happen no matter what happens, is perhaps the greatest obstacle to proper understanding of history. In addition, excessive hero worship, overemphasis on masculinity, and a historical perspective bordering on chauvinism obviously prevented the writer from objective understanding of why things happened the way they did and why other things did not. Fourth, the writer exhibited an appalling lack of creativity by utter inability to bring new characters to life, rather relying on heavy borrowing from other literature. It was highlighted by the fact d1at personalities and appearance of many characters did not resemble the people of Koguryo, but instead were copied from epics from other countries, Writers of good dramas must consider research into the diversity of human nature his or her main responsibility, to discover the various natures and characters in real life. By choosing to borrow and copy rather than create characters, a historical drama supposedly abo

역사콘텐츠를 통한 청소년들의 인식 조사 ­ 드라마와 영화를 토대로 ­

이병철 ( Lee Byung-chul ) 한국사상문화학회 2017 韓國思想과 文化 Vol.88 No.-

논의의 출발은 최근 방영했던 사극의 역사적 왜곡에 대해 조사하고 또 이러한 왜곡들이 시청자의 역사 인식에 어떤 영향을 주는지, 그 수준과 반영 정도를 알아보고자 했다. 설문조사 방법을 통해 자료로 취택한 사극 콘텐츠 속에서 중심 스토리 전개에 영양을 주고 있는 왜곡된 또는 오해를 줄 수 있는 항목들을 선별해 질문 항으로 내용을 구성했다. 물론 여기에는 최근에 나온 사극 콘텐츠나 그 내용 전체를 모두 대상으로 할 수 없다는 점과 사람들이 모르는 사극 속 배경이 나올 수 있음이 존재한다. 아울러 청소년 학생들과 교사를 포함하는 조사 군을 설정했다. 그리고 이러한 자료를 근저로 문항의 결과를 밝히고 시청자의 바람직한 자세를 견지함과 앞으로 사극이 나아가야 할 방향을 모색하고자 했다. 우선 유행하는 사극들을 집약하여 조사한 결과, 대부분의 사극은 팩션이나 픽션사극 등이었다. 다시 말해 우리 고유의 역사를 사실에 기초해 그대로 재현한 것이 아닌, 작가의 상상력이 가미된 스토리로 제작되고 있는 것이다. 이러한 사극의 신방향성은 무엇보다 역사 왜곡에 자유로울 수 있다는 점이며, 그 정도 또한 수위 조절이 필요하다는 사실이다. 설문조사에서도 알 수 있듯 사극을 접하는 사람들은 작품 자체를 비판하는 것이 아니다. 다른 드라마에 비해 막대한 제작비용을 고려해 보아도, 사극이 지닌 역사적 기반 아래 극적 요소와 시청자의 욕구를 충족할 만한 실속 있는 양질의 콘텐츠를 기대하고 있는 것이다. 행정적인 제재를 떠나 작가나 제작진, 방송사의 스스럼없는 토로와 각성을 통해 역사에 기초한 사극콘텐츠의 깊이 있고 자부심이 묻어나는 창작 노력을 기대해 본다. This study examines the level and reflection degree on the recent historical drama`s historical distortions and how these distortions influence the viewers` historical awareness. Through the questionnaire methodology, we try to find the way to our historical drama and maintain a desirable position of the people who watch the drama should have. First of all, after investigating the fashionable historical dramas, most of the dramas are faction or fiction historical dramas. In other words, the dramas are producing as the new story distorted by the writer`s imagination, not the sheer representation of the inherent history of Korea. These new directions for historical dramas consist in historical distortions, and thereby need to adjust expression intensity. As shown in the questionnaire, the people who watch the historical drama don`t criticize the drama itself. Considering that the tremendous production cost compared to other dramas, the people expect the dramatic elements of the drama`s historical basis and the high-quality contents satisfying the viewers` appetite. Accordingly, it is expected that the realization of historical drama contents will be made through the revealing thoughts and awakening of writers, producers and broadcaster by transcending the administrative sanctions.

논문 : 사극 속 갑주에 관한 연구

장혜숙 ( Hye Sook Chang ) 한국연극교육학회 2015 연극교육연구 Vol.27 No.-

Historical drama has more meaning and value to the public than simply enjoying. It could be fun and easily accessible visual history textbook to most of the people. It also looks back to the past and illuminates the future as a mirror of the times and life and eventually reminds us a sense of pride for our people and culture. Under the oppression inside the border of the history, the width of imagination and freedom of expression of historical drama has been relatively limited by comparing with other genres and media. Drama is, however, drama, not a documentary. It is, therefore, impossible to fully coincide with the historical facts. Creative imagination is a necessary element to achieve dramatic structure because it is essential artistic working conditions to some extent in the reconstructed, reinterpreted, and re-creation process. This process could solve viewers yearning for the history of communication. For the successful process, however, it should be given a rationale for anyone to admit and represented in creative ways under the boundary of such a permissible logic. The war has emerged as an essential element in the drama hanging between the past and the present, and dream and reality. Wearing armor during the war, therefore, became an important yardstick in determining the success of the drama. Due to the limitations of remaining historical data, the armor is difficult to be verified with historical research during construction, leaving to the imagination which becomes essential process for the completeness and genre characteristics of the historical drama. It has been unfortunately true and unsatisfactory in representing higher level of armor by the lackness of historical research and limitation of budget and time, Armor recycling and random mixing of style, therefore, would be a frequent happening in historical dramas. In addition, we were so generous to excessive design transformation and fusionism drama having unknown nationality in the flow of modernization for the popularity ratings. Recently, however, China``s Northeast Project, distortion of history in Japan and Korean history textbooks in compulsory subjects specified and controversial, such as confusion and identity issues of history, become a center of attention aspiring to ``correct history`` requiring historical facts and materials based on meticulous historical research. People now requires a high level of drama having such a fundamental research. Accordingly, expression of the armor in drama also raised gradually the level of construction and expression area and increased the completeness of the historical drama with more advanced, decorated and refined skills by focusing on the factual representations and visuals with the development of technology. This study shows costumes and the relations between historical research and imagination through the gaps of history and historical drama, The historical research and the problems of the modern transformation of ancient armor were discussed through the drama producted in recent years by focusing on the evolved face of the armor in the drama of TV and film. Especially the armor with investigation through the historical research of <Geunchogowang> has been analyzed with an attention to the development of the lightweight and durable material from Gyeongbeongab of <Jeongdojeon>, and the evolution of appropriate design transformation for a film through <Myungryang>. Finally, higher level of historical drama could be expected from the desirable costume study based on understanding that the relationship between correct history with historical drama is to be the one with the fact and imagination, and historical research and media transformation, not truth and lies. It is very notable that the creative balancing of the underlined gap would lead to the historical drama remaining significant arts and meaningful records in our history.

역사드라마 <화정>과 역사적 상상력 - 17세기 정명공주의 삶을 재현하는 방식들 -

김지영 ( Kim Jiyoung ),서보민 ( Suh Bomin ) 한국여성사학회 2018 여성과 역사 Vol.0 No.29

17세기 조선사회에서 살았던 정명공주의 삶을 재현하는 방식들은 다양하며, 역사드라마와 책과 같은 대중매체는 그 중 하나이다. 이 글은 그것을 역사적 상상력이라는 관점에서 다룰 것이다. 드라마작가 김이영이 재현한 역사드라마 <화정>의 ‘드라마적 상상력’과 역사학자 신명호의 대중서『화정, 정명공주』에 재현된 ‘학문적 상상력’을 비교하였다. 이를 통해 정명공주와 그녀의 삶에 관한 역사적 상상력의 다양한 스펙트럼을 보여주고자 하였다. 정명공주와 그녀의 삶을 재구성한 두 가지 방식을 비판적으로 분석함으로써, ‘화정’이라는 글씨를 남긴 정명공주가 대중적으로 소비됨에도 불구하고, 그녀의 본래 목소리는 왜 들리지 않았는지 밝혀보고자 한다. 역사드라마 <화정>은 드라마 <이산>과 <동이>를 쓴 대중적으로 잘 알려진 김이영 작가의 작품이다. 정명공주에 관한 역사 기록이 제한적이기 때문에, 작가는 역사적 맥락을 기본배경으로 삼아 나머지는 역사적 상상력을 활용하는, 상상적 역사서술방식을 택하고 있다. <화정>은 역사드라마 가운데 퓨전사극이라는 장르에 속한다. 그것은 정치란 무엇인가? 권력을 대하는 인간의 태도는 어떠해야 하는가? 라는 보편적인 질문을 던지고, 17세기 실존인물인 왕실여성 정명공주를 21세기를 사는 한국사회의 시청자들 앞에 호출하여 그녀의 목소리로 대답하고 있다. 2000년 이후 한국사회에서 여성의 정치적 비중이 커지면서, 드라마 <화정>의 주인공 정명공주는 ‘올바른 정치를 외치는 여성’의 모습으로 재현된다. 그러나 아이러니하게도 당시 드라마가 방영된 시기는 세월호 참사로 한국 최초의 여성대통령 박근혜와 그녀의 정치세력에 대한 비판이 고조되던 때였다. 그리고 그것이 드라마 속 정명공주의 목소리가 들리지 않게 된 가장 큰 이유였다. 역사학자 신명호의 책 『화정, 정명공주』는 정명공주의 입장에서 학문적 상상력을 동원하여 정명공주의 인생을 재현하고자 하였다. 그는 정사의 기록뿐만 아니라 야사로 인식되었던 역사기록들 속에서 실제 정명공주의 삶을 그려내고, 왕실문화에 관한 해박한 지식을 활용하여 17세기 왕실사람들의 낯선 행위들을 현대 독자들에게 설명하고자 하였다. 그러나 여전히 정치사적, 사건사적 역사서술에 치중함으로써 83년이라는 긴 인생을 산 정명공주의 목소리는 잘 들리지 않는다. 『마르탱 게르의 귀향(The Return of Martin Guere)』을 통해 16세기 프랑스 농민의 일상적 삶과 사고방식을 미시적으로 재구성한 나탈리 제이먼 데이비스(Natalie Zemon Davis)가 보여주었던 것과 같이, 과거의 다양한 목소리를 반영한 보다 풍부한 ‘창작물’이 되지 못했기 때문에, 17세기를 산 왕실 여성인 정명공주의 삶에 관한 그의 ‘재현’은 여전히 한계를 가질 수밖에 없다. There are many ways to represent the life of Jeongmyeong, Princess of Joseon in the 17th century, and mass media such as historical dramas and books are among them. This article treats them as ‘historical imagination’, comparing the ‘dramatic imagination’ of the TV historical drama < Hwajeong > with the ‘scholarly imagination’ represented in the popular history book Hwajeong, Princess Jeongmyeong by historian Shin Myeong-ho. By critically analyzing the two different ways of reconstructing Princess Jeongmyeong and her life, we show why her original voice was silenced, despite her extant writing of ‘Hwajeong’ and the popular consumption of her biography. The historical drama < Hwajeong > is the work of Kim Yi-young, a well-known drama writer who wrote popular dramas such as < Isan > and < Dongi >. Due to the limited historical records related to Princess Jeongmyeong, the writer adopted an imaginative narrative that uses the historical context as the basic background while filling in the rest with her historical imagination. Thus, < Hwajeong > is a genre called ‘fusion historical drama’ among historical dramas. It raises such universal questions as: What is politics? What should our attitude be toward power? It thereby resurrects Princess Jeongyeong of the 17th century for the audiences of Korean society in the 21st century to answer the questions through her voice. As women’s political power in Korean society has increased since 2000, the main character of the drama, Princess Jeongmyeong is represented as a woman who calls for correct politics. Ironically, however, the drama was aired when criticism of Park Geun-hye, the first woman president in Korea, was at its height due to the disastrous Sewol Ferry accident. This was the biggest reason that the voice of Princess Jeongmyeong in the drama went unheard. Historian Shin Myeong-ho's book, Hwa jeong, Princess Jeongmyeong, tried to represent the life of Princess Jeongmyeong by using scholarly imagination from the Princess Jeongmyeong’s point of view. He tried to depict her life based on historical records that were recognized as ‘informal’ as well as ‘official history’ from his expertise of royal culture. However, it was still difficult to hear the voice of Princess Jeongmyeong, who had lived for 83 years, because he focused on the main events of political history. Unlike the work of Natalie Zemon Davis, who reconstructed the daily life of French farmers in the 16th century through her book The Return of MartinGuere, his attempt did not lead to a rich recreation of history, limiting his representation of the life of Princess Jeongmyeong.

사극의 변화하는 풍경과 역사를 재현하는 관점들을 맥락화하기: <별순검>과 <한성별곡>을 중심으로

이기형 한국방송공사 2007 방송 문화 연구 Vol.19 No.2

Traditionally historical dramas have been one of the most visible genre forms in South Korean television. In recent years, historical dramas are booming and have been increasingly transformed in terms of narrative and visual schemes. In particular, “fusion”and “faction”texts have emerged and gained popular interests. These new breed of historical dramas usually do not necessarily embrace the received representational and generic conventions : cultural producers freely borrow mythical or imaginary characters and elements as well as (re)create incidents that are not necessarily part of the recorded histories. What is also distinctive about emerging fusion and faction dramas is : they tend to employ spectacular images and CGI, large-scale sets and luxurious costumes, as well as to present more “modern”and complex characters. To some extent, the popularity of these new historical dramas seems to reflect the wide-spread popular interests in cultural history, micro-historia, as well as the boom in popular literary forms on various historical events and figures. In this article, after surveying and exploring the main trends in historical drama-making, I want to focus on two historical dramas, <Bulsunkum> and <Hansungbeulkok> which attempt to chart alternative ways of experimenting with historical drama form and redeploying historical narratives. The former creatively interweaves detective genre, crime story, and humor in a historical narrative form. In doing so, <Bulsunkum> introduces new angles and impulses in dealing with historical dramas through its innovative use of cultural imagination. In <Hansungbeulkok>, a powerful, thoughtprovoking, absorbing, and well-crafted political drama meets historical genre form. This drama accentuates the role of historical drama as a kind of narrative delivery vehicle for linking the past and the present by inviting the audiences to reflect on complex and contentious socio-political issues. Through such remediation, <Hansungbeulkok> provides the interested audiences with uncommon experiences of re-thinking and re-envisioning the political matters. In my opinion, these two texts collectively present much valuable and alternative forms of experimenting with, and upgrading historical drama's potential as an important televisual form and culturally nuanced genre in our times.

문화혁명 이전 17년간(1949~1966) 역사극의 역사진실과 예술진실 논쟁

김은수 ( Kim Eun-soo ) 동국역사문화연구소(구 동국사학회) 2020 동국사학 Vol.69 No.-

1960년대의 ‘역사극 논쟁’은 吳唅의 「談歷史劇」에 의해 시작되었다. 그 논점은 다음과 같다. 첫째, 역사극의 인물과 사실은 반드시 역사적 근거가 있어야 하며, 역사의 실제 정황을 반영하지 않는 극은 역사극이 아니라 故事劇이다. 둘째, 역사주의와 애국주의 교육에 대한 역사극의 역할을 중시해야 한다. 셋째, 역사극의 창작은 역사사실에 근거하면서 ‘歷史眞實과 藝術眞實’의 통일이 필요하다. 논점은 주로 역사인물과 역사사건을 ‘當代化’하는 과정에서 ‘史實’을 어떻게 다루어야하는가를 둘러싸고 벌어졌다. 吳唅은 歷史眞實을 강조하는 역사극의 개념을 제시하였고, 歷史劇, 故事劇, 神化劇을 구분하였다. 李希凡 등은 역사인물을 ‘當代化’할 수 있다면 ‘史實’은 고려할 필요가 없다고 보았다. 역사극 문제는 중화인민공화국의 역사적 정통성을 확보하기 위한 ‘역사사실 만들기’ 작업과도 관련되었다. 역사가들은 ‘歷史事實’의 확보가 사료에 근거해야 한다는 입장을 고수하였지만, 극작가들은 역사 규율에 입각한 ‘역사진실’을 정확하게 인식하면, 그들의 상상에 의해 창작된 인물과 사건이 ‘역사사실’을 더 정확히 밝혀낼 수 있다고 주장하였다. The debate on historical drama in the 1960s began with Wu Han’s “on historical drama”. The argument is as follows. First, people and things in historical dramas must have historical basis. Dramas that do not reflect the actual situation of history are not historical dramas, but story plays. Second, we should attach importance to the role of historical pays in the education of historicism and patriotism. Thirdly, according to the historical facts, the creation of historical drama needs the unity of “historical reality and artistic reality”. The argument mainly revolves around how to deal with “historical facts” in the process of “contemporaneity” of historical figures and events. Wu Han put forward the concept of historical drama which emphasizes the historical truth and distinguishes historical drama, story drama and myth drama. Li Xifan and others believe that if historical figures can be “contemporary”, there is no need to consider “historical facts”. “Shaping historical facts” for the historical legitimacy of the people’s Republic of China is related to the issue of historical drama. Historians insist that the assurance of “historical facts” should be based on the position of historical materials, but playwrights believe that if we correctly recognize the “historical truth” based on historical laws, then the people and things created according to their imagination can more accurately find out the “historical facts”.

중학생의 역사 드라마 시청이 역사의식에 미치는 영향

장희흥,차경호,구혜진 大邱大學校 師範大學 附設 敎育硏究所 2010 學校敎育硏究 Vol.5 No.2

This study is aimed at proposing the specific plans to use history drama lessons through the study on the relations between reality, fascination and involvement that are sub-variables of history drama viewing and middles school students’ historical consciousness, and to raise their historical consciousness by using history drama lessons. In order to accomplish such a goal, the study selected respective 250 middle school students in Daegue and Gumi, Gyeongsangbuk-do as its subjects, and the surveyed and analyzed findings are obtained as follows. First, it is the result obtained by dividing the subjects’ general characteristics. Fascination and involvement among reality, fascination, and involvement that were sub-variables had a difference in the division by sex. Fascination was shown to be higher in female students while involvement was higher in male students. In addition, as to the region, history drama viewing had no difference in middle school students of Daegue and Gyeongsangbuk-do. Historical consciousness was higher in middle school students of Daegue that those of Gyeongsangbuk-do, while regarding the grade there was no difference in history drama viewing and historical consciousness. Second, it was the result regarding how reality, fascination, and involvement that were sub-variables of history dram viewing affected historical consciousness. With regards to types of history dram viewing, fascination, reality, and involvement significantly affected historical consciousness in order. According to the gender, male students’ reality, involvement, and fascination gave a significant effect on historical consciousness while female students’ involvement didn’t affect historical consciousness, and fascination and reality gave an effect on historical consciousness in order. As to the grade, the first graders’ reality, fascination, and involvement were not related to historical consciousness while the second graders’ reality and fascination except for involvement affected in order. Besides, the third graders’ fascination only affected historical consciousness. Regarding the region, fascination and reality of middle school students in Daegu affected historical consciousness in order while fascination, involvement, and reality of middle school students in Gyeongsangbuk-do influenced historical consciousness. Like this, there was a little difference in the gender, grade, and region, but reality, fascination, and involvement that were sub-variables related to history drama viewing affected historical consciousness, and the higher sub-variables related to history drama viewing were, the higher historical consciousness was. Due to the fact that history dramas had a fictional element, there was a discussion on educational efficiency. However, this study verified the fact that history dramas can be educationally used, instead of deciding whether history drams were true or not. Based on the findings of the study, the effective utilization methods of history dramas in history lessons are suggested as follows. First, the study of historical figures using history dramas is possible. Students can understand properties of characters through re-enactment and empathy, and approach various figures that don’t appear in textbooks. Second, they can raise critical view that is able to divide false and fact of history dramas and use it to the fact learning. Third, it is possible to learn historical terms. By learning unfamiliar and difficult historical terms in advance, they can increase interest in history lessons. Fourth, storytelling of historical materials is possible. Students can make their own new interpretation by constructing various historical materials in a way of history dramas. Fifth, they can use a decoration making of history dramas, a visiting of the set, and a clipping of TV screen capture in various manufacturing studies as materials. Sixth, they can have a mock trial and a role-playing lesson regarding behaviors decisions of history drama figures. Seventh, they can study the public life history through history dramas. 이 논문은 중학생의 역사 드라마 시청이 역사의식에 미치는 영향에 대한 것이다. 역사 드라마 시청과 관련된 하위변인인 현실감, 심취도, 관여도는 성별, 학년, 지역에 따른 차이는 있지만, 역사의식에 분명 히 영향을 미치고 있다. 영향력의 크기는 심취도, 현실감, 관여도 순으로 나타났다. 그렇기에 역사 드라 마 시청과 관련한 역사 수업은 중학생의 역사의식 향상에 도움을 줄 수 있을 것으로 보인다. 역사 드라마를 시청하려는 의도와 시청하는 동안의 관여도 정도는 남학생의 경우 역사의식에 유의한 영향을 미쳤지만, 여학생의 경우 유의한 영향을 미치지 않는 것으로 나왔다. 학년별로 결과를 살펴보면 모든 학년에서 관여도는 역사의식에 통계적으로 유의한 영향을 주지 않는 것으로 나타났고, 제일 고학 년인 3학년에서 심취도만이 영향을 주는 것으로 보아 역사 드라마를 시청함에 있어 역사적 사실과 허구를 구별하는 능력이 아래 학년보다 발달하여 현실감의 영향을 덜 받은 것으로 보인다. 역사의식은 대구광역시 중학생이 경상북도 중학생보다 다소 높다. 그리고 실제 사극의 선호도는 퓨전 이나 판타지를 선호하지만 실제 전통사극이 역사의식에 더 높은 영향을 미쳤다. 이것은 현장 교사의 경 험담과 일치한다.

사극을 어떻게 볼 것인가

김기봉(Kim, Gi-Bong) 인문콘텐츠학회 2016 인문콘텐츠 Vol.0 No.43

사극이란 역사의 내용을 드라마의 형식으로 재현하는 장르다. 역사가 사실인 반면, 드라마는 허구다. 이런 사극의 이중적 정체성이 사극을 어떻게 볼 것인가의 문제를 낳는다. 사극을 보는 두 가지 시각이 있다. 첫 번째는 역사와 사극을 트루스(truth) vs. ‘포스트 트루스(Post-truth)’ 대립의 문법으로 보는 방식이다. 이 문법에 따르면, 사극은 역사적 사실을 왜곡하는 역사감정을 유발한다는 부정적인 평가를 받는다. 두 번째는 역사학과 사극의 관계를 현실과 꿈이라는 인간 삶의 두 측면과 연관해서 이해하는 방식이다. 현실과 꿈의 두 세계를 어떻게 접합하면서 사느냐에 따라 인간은 세 종류의 현실을 산다. 첫 번째는 실제 현실만을 진정한 삶의 현장이라고 믿으며 사는 방식이다. 두 번째는 꿈이라는 목표를 갖고 현실을 사는 사람이 사는 증강현실이다. 세 번째는 현실에서 벗어나 꿈속의 가상현실에 사는 삶이다. 이 세 유형에 부응하여 역사적 재현을 현실과 꿈의 두 세계의 접합으로 하는 사극도 정통사극, 팩션사극, 픽션사극으로 구분할 수 있다. 이 같은 세 유형으로 사극이 분화한 것은 디지털 시대에서 인간 삶의 공간이 가상세계로 확장하고 존재방식이 변화한 것과 연관된다. 앞으로 다가올 인공지능 시대에서 인간에게 중요한 것은 지식과 지능보다는 상상력과 감성이다. 모든 것을 디지털 데이터로 전환시킬 수 있는 시대에서 기억의 반대는 망각이 아니라 상상이다. 앞으로 인류는 한 번도 가지 않은 길을 가야한다. 과거의 인류가 걸어왔던 발자국을 통해 미래 나아갈 길을 모색할 수 없다는 것이 오늘날 역사학이 직면한 근본적 한계다. 본 에세이는 인공지능 시대 역사학의 위기를 극복해야 한다는 문제의식으로 역사학과 사극의 관계를 보는 인식의 전환을 제안한다. 현실의 역사를 탐구하는 역사학보다는 과거를 살았던 사람들에게 있었던 ‘지나간 미래’를 이야기하는 사극의 문법에 입각해서 생각할 때, 인공지능 시대 “Historia, Quovadis?”에 대한 의미 있는 답을 구할 수 있다. Historical drama is a genre that represents the contents of history by form of drama. While history is fact, drama is fiction. It causes an issue of how to identify it because historical drama has both sides. There are two different perspectives to understand. One is looking at history and historical drama as truth versus ‘post-truth’ by means of opposition to one another. This perspective could result in the negative evaluation appealing to historical sentiment that distorts historical fact. The other perspective is looking at the relationship between history and historical drama as two sides of human life: reality and dream. Depending on how one connects the world of reality and dream, he/she can live three different types of lives. The first one is the way of living by being completely centered on the actual reality itself. The second is a life of a person who sets attaining one’s dream as a goal of life, living in augmented reality. The third is a life of a dreamer who lives in an imaginary world away from reality. In response to these three types, the historical drama, which is a combination of the two worlds of reality and dream, can be divided into authentic historical drama, faction historical drama, and fiction historical drama. The differentiation of the historical drama into these three types is related to the expansion of the space inhabited by humans into the virtual reality and the change in the way of existence in the digital age. In the coming era of AI(Artificial Intelligence), the important attribute to humans will be imagination and emotion rather than knowledge and intelligence. During the era when everything can be converted into digital data, the opposite of memory is imagination, not oblivion. In the future, mankind must take the road that has never been traveled. Today, history is faced with the limitation that it cannot search for the answers about the future by looking at the footsteps of past mankind. This essay suggests that in order overcome the challenge faced by history during the age of AI, it is necessary to transform the way of understanding the relationship between history and historical drama. When we focus on the grammar of historical drama that is telling a story about the ‘past future’ that existed for those who lived in the past, instead of doing historical research that explore past reality, we can find meaningful answer about “Historia, Quovadis?” in AI age.

연구논문 : 2000년 이후 TV사극의상 디자인 연구

채금석 ( Keum Seok Chae ),김은경 ( Eun Kyoung Kim ) 한국의류학회 2016 한국의류학회지 Vol.40 No.1

This study analyzes historical drama costumes as a domain of popular culture through an examination of the changing process, factors, and design characteristics of historical drama costumes according to trend changes in historical dramas after the 2000s. Public interest in Korean traditional clothing has grown due to the historical drama fever. Research results are as follows. First, historical dramas are divided into: authentic historical dramas, popular dramas, and fusion dramas. Historical drama costumes show characters`` status and roles to help viewers become absorbed in dramas and increase understanding the historical periods and knowledge. Second, the characteristics of TV historical drama costumes (according to changes of the historical dramas according to 2000) brought diversification as they are diversified by period, genre, and character and costumes which are suitable for them additionally resurfaced. Third, as for the design characteristics by type in TV historical costume after 2000s, authentic historical dramas`` design was done by comparatively in-depth historical research based on historical materials to help public understand the past. Popular historical drama costumes are based on history, but the forms of costumes were emphasized (or exaggerated); in addition, colors, subjects, and patterns were modified to emphasize image beauty, dramas`` atmosphere, and characters by reflecting intention. The fusion of historical dramas`` costumes attracted the attention of the public about Korean designs that harmonized tradition with modernity to actively reflect current trends in past periods and show new types of creative design.