TV의 젠더 역사쓰기의 가능성과 한계

김훈순(Hoon-Soon Kim),김숙(Suk Kim) 한국언론정보학회 2010 한국언론정보학보 Vol.51 No.3

이 연구는 KBS에서 방영되었던 TV 역사다큐멘터리인 〈역사스페셜〉과 〈한국사 傳〉을 대상으로 TV의 역사쓰기방식을 살펴보기 위해 이야기구조와 담화를 중심으로 서사분석하였다. 역사적 사실을 선택과 배제를 통하여 재구성하는 TV의 역사쓰기가 대중매체임에도 불구하고 기존의 지배적인 역사인식에 반하는 역사적 해석을 할 수 있는지 그 가능성을 짚어 보았다. 분석결과 두 프로그램 모두 지배적 이데올로기에 반하는 전복적인 역사쓰기에 한계를 드러냈다. 이야기구조에 있어서는 첫째, 여성의 역사를 쓰는데도 불구하고 남성의 영웅 서사 전개방식을 채택하였으며, 또한 공적 인물화하는 과정에서 개인으로서의 여성성을 없애고 탈개인화시키고 있다. 둘째, 두 여성에 대한 역사적 평가에 앞서 전제하고 있는 외모에 대한 평가가 남성적 시선에 의해 이루어지고 있으며, 셋째, 정치적인 여성 인물사를 이야기함에도 불구하고 사적인 남녀 간의 애정관계에 주목하고 있어 여성의 공적 인물화에 실패했다고 할 수 있다. 두 프로그램의 담화방식 역시 역사적 상상력을 주기보다는 다큐멘터리의 역사적 해석을 더욱 고정시키는 역할을 하고 있는 것으로 나타났다. 스튜디오에서 실제의 모습으로 전지적 시각으로 역사를 전달하는 서술자는 담론적 위계구조에서 가장 상위에 위치하고 있는 의미 규정자였다. 영상의 경우 특히 〈한국사 傳〉에서 부족한 영상을 메우기 위해 제작진의 상상력에 의해 만들어진 극화된 재연 장면에 의존하는 방식은 담화가 오히려 가부장적 서사를 고정시키는 역할을 함으로써 인물에 대한 전복적해석의 가능성을 제한하고 있다. This study analysed the narrative of 〈History Special〉 and 〈Korean History Biography〉, two history documentary broadcasted on KBS, in terms of story-telling and discourse. And it also examined whether TV as mass media could provide an alternative interpretation against the dominant historical awareness. As a result, both programmes showed limitations on representing subversive point of view to the dominant ideology. At the story-telling level, firstly, they represented in a way of male-hero narrative though they were describing the history of woman, and while representing woman as a public figure they eliminated her feminity and individuality. Secondly, before evaluating woman as a historic figure they previously appreciated her appearance in a male-point of view. Thirdly, although they were telling the story of woman in a political view, they focused on love triangle, therefore failed to make her as a public figure. The discourses of both programmes were anchoring the existing historical interpretation instead of offering an alternative historical imagination. The narrator who were telling history at the studio in a omniscient viewpoint took a role as a meaning definer, placed at the highest rank in the hierarchy of discourse structure. Especially in 〈Korean History Biography〉, the dramatized images to cover lack of visual data helped anchor the patriarchal narrative and reduced the possibility of subversive interpretation on historic figure.

한국 뮤직비디오의 포스트모더니즘과 성정치학

김훈순(Hoon-Soon Kim) 한국방송학회 2001 한국방송학보 Vol.15 No.3

TV 뉴스와 젠더구조에 대한 수용자의 인식과 평가

김훈순(Hoonsoon Kim) 한국방송학회 2000 한국방송학보 Vol.14 No.3

The news and entertainment media remain men's domains. Empirical data and a significant body of critical literature demonstrate that men control the media. Feminist activists and scholars try to make the media more egalitarian in both representing and employing women. My concern is particularly with news, which has power to define serious topics for public debate and to identify major players in political, economic, and social processes. The gender structure in news does not reflect the reality transparently, but represents the power relations constructed in patriarchal social order in a symbolic way. In this context, the paper deals with how TV viewers recognize and evaluate the gender structure represented in TV news program in Korea. To that end, the purpose, this study conducted a survey research using questionnaires with 440 college students which consisted of 228 females and 212 males. Main research questions include; what are the characteristics of their TV news viewing patterns; what are the differences between female and male students in news viewing patterns; how do they recognize and evaluate the gender structure constructed by anchors, reporters and sources in TV news: and what are the differences in the recognition and evaluation between female and male students. The purpose of the paper is to show audience's consciousness about discriminated sex apparatus in TV news which reproduced male-dominated ideology and to reveal the problems of sex apparatus. Furthermore, it is to pursue the desirable changes of the gender structure in TV news and to contribute in making media more egalitarian in representing women. The study found out that male students liked to watch mostly news and sports programs, and female student preferred to watch dramas to news. Among news items, male students were interested in the hard news such as economy/banking and sports and, contrarily, female student liked to watch soft news such as social and cultural news. Generally, both the male and female students tended to realize the discriminated gender relations in news. However, the female students severely criticized the gender structure more than the male students did. In particular, the male student indicated that beauty, young age, and good voice were the most important qualifications for the women anchors, but, for men anchors, professionalism, criticizing ability, and authority were necessary. In contrast, the female students emphasized that the qualifications for both men and women anchors were same. By the same token, the male students asserted that hard news should be reported by male reporters and soft news should be did by women reporters. However, the female students insisted that the sex of reporters were not related to news coverage. Finally, the female students realized and criticized more than the males about the facts that interviewees and commenters were mostly men, and a few women were appeared and they were described as victims or traditional women's roles. In conclusion, we could infer from the results that the male students seemed to internalize the patriarchal social order and to maintain the status-quo. In contrast, the female students tended to be critical to male-dominated media representation and to have feminist thoughts.

한국 멜로영화의 장르연구

김훈순(Hoonsoon Kim),김은정(Eunjoung Kim) 한국방송학회 2000 한국방송학보 Vol.14 No.1

Melodrama has been the most traditional and popular film genre in Korea. Melodrama had been the most popular film genre in the 1960’ sand 1970’ s. However, during the 1980’ s and the first half of 1990’ s, it had not been popular and its production had decreased significantly. From 1997, the production of melodramas had increased dramatically and it becomes popular again. Since then, melodrama films have been very successful in ticket sales and it is now the mainstream of the film production in Korea. The purpose of this study is to analyze why melodrama reemerged as the most popular film genre again in Korea. The main issues are: why the melodramas in the late 1990’ s are extraordinarily popular?; what are the differences between the past melodramas and the recent melodramas? In order to answer these questions, we have analyzed and compared the conventions and formulas of those produced in 1960s and 1970 and that of those produced recently. The theoretical framework of this research is the genre study. According to genre study, genres have evolved themselves in interrelation with the changes in the society, the economic pressures of film industry, the intertextuality of text, and the expectations of audiences. And the film industries continuously have reproduced the successful conventions, and, as a result, the repeated conventions have become a part of genre. The genre has been continuously evolved itself. Nevertheless it has sustained stable identity. For the study, we have analyzed the most popular seven melodramas which have been produced recently. A text analysis of narrative convention has been made up to investigate the inner evolution of melodrama genre. We have classified seven melodramas into three categories: the first is “the classical plots”, the second is “new immorality plots” which are transformed from the melodrama produced in the past, and the third is “the modem plots”. After the classification, we have analyzed and compared the three recently produced melodrama plots with the melodrama conventions produced in the past. We found both the reproduction and the transformation of the genre conventions. On the one hand, the reproductions of the traditional melodrama conventions are; event oriented narratives, contingency, destined love, conflict of social status, a triple love affair, tragic feeling, emotional excesses, and male-dominated and female-masochistic narratives. On the other hand, the transformations are; character centered narratives, love in every day life, introvert conflict, moderate emotion, happy ending, and hybrid of other genres. The study has concluded that the transformations of the melodrama film have reflected the change of the Korean modern society such as urbanization, improvements in women’s right, and developments of modem communication means. Furthermore, we have interpreted that transformation of conventions has been a factor to bring about the popularity of melodrama in present. However, the transformation of conventions has been superficial and stylish. And, basically, the values and themes, such as patriarchy, familism, and ideology of romantic love, which the recent made melodramas have pursued, have been the same as the melodramas did in the past.

텔레비전 서사연구의 메타분석

김훈순(Hoonsoon Kim) 한국방송학회 2004 방송통신연구 Vol.- No.59

영상산업의 마케팅에 대한 문화적 고찰

김훈순(Kim Hoon-Soon),이경숙(Lee Kyung-Sook) 한국언론학회 2000 한국언론학보 Vol.44 No.3

팬픽의 생산과 소비를 통해 본 소녀들의 성 환타지와 정치적 함의

김훈순(Hoonsoon Kim),김민정(Min-Jeong Kim) 한국언론학회 2004 한국언론학보 Vol.48 No.3

한국 현대 공포영화와 장르 관습의 변화

김훈순(Hoonsoon Kim),이소윤(Soyoon Lee) 한국여성커뮤니케이션학회 2005 미디어, 젠더 & 문화 Vol.4 No.-

이 연구는 최근의 한국영화의 산업적인 성장에 발맞추어 2000년 이후 공포영화가 꾸준히 제작되어오는 현상에 주목하면서 최근의 공포영화들이 보여주는 새로운 관습적 특성을 살펴보고, 사회문화적 맥락 속에서 그 관습변화가 갖는 함의를 검토하였다. 최근의 영화들이 보여주는 관습적인 특성과 변화를 살펴보기 위해 이전의 영화들이 가진 관습적인 특징을 바탕으로 최근의 영화들을 분석하였고, 서사분석을 기초로 하여 플롯과 인물의 특징과 더불어 인물간의 관계를 분석하였다. 그 결과 현대 공포영화는 우선 갈등이 가족으로부터 시작되어 가족해체를 다루고 있다. 또한 전통적인 공포영화와 달리 원귀가 등장하지 않으며, 인물들 간의 대립구도도 해체되는 경향을 발견할 수 있었다. 내용과 형식의 변화를 겪으면서 진화해오고는 있지만 여전히 가족주의와 가부장적인 가치가 핵심이 되어 원귀를 만들어내는 대신 이를 무의식의 영역으로 가져가 인물들을 억압하고 있음을 알 수 있었다. 초기 단계의 공포영화들이 그러한 가치들을 닫힌 결말의 방식으로 강제하고 있었다면, 최근의 공포영화들은 이를 인물의 내면으로 교묘히 숨긴 채 열린 결말의 방식을 채택하고 있는 것을 볼 수 있었다. 영상매체로서 영화의 시각적 요소는 중요한 분석대상일 수 있으나, 공포영화에 대한 장르 연구가 일천한 상황에서 이 연구는 서사내용과 형식에 주목하는 탐색적 연구로서 의의를 갖는다. Horror films has been a traditional genre in Korea, even if they has nor been the most popular films. The significant number of horror films had been produced in the 1960's and 1970's. However, during the 1980's and the first half of 1990's, few number of horror films had been produced. From 1998, the production of horror movies increased significantly and it became popular. The purpose of this study is to investigate why the horror films in the late 1990' s began to be popular?; what are the differences between the past horror films and recent films; what are the socio-cultural implications of the differences. For the study, the most popular four horror films were selected, which have been produced recently. And a narrative analysis were used to investigate the plot, the characters, and the relationships of them in horror films. The conventions and formulas of the modern horror films were compared with that of those produced in 1960s and 1970s. The study found the transformation of the genre conventions. For instance, the conflicts of narrative were originated from the family and finally the family was broken up; The female ghosts were not appeared, who were frequently found in the past horror films: The sense of character's guilt in unconsciousness was the main motivation in the films, instead of ghost's revenge in the past films; the antagonism between characters were nor found; and the recent horror narrative tended to have open-ended, instead of solving narratives in the past. We concluded that the transformation of the horror films relatively reflected the changes of the Korean modern society. However, the values and themes such as patriarchy and familism were still pursued like in the past ones.

여성 담론 생산의 장(場)으로써 텔레비젼 드라마

김훈순(Hoon-Soon Kim),김미선(Mi-Sun Kim) 한국언론학회 2008 한국언론학보 Vol.52 No.1

한국 언론의 젠더 프레임

김훈순(Hoon-Soon Kim) 한국언론정보학회 2004 한국언론정보학보 Vol.27 No.-

이 연구는 한국 언론의 젠더담론을 살펴보기 위해 《조선일보》ㆍ《한겨레신문》 사회면에 실린 여성관련 범죄뉴스의 프레임을 분석하였다. 스트레이트 기사형식을 선호하는 사회면의 범죄기사는 대부분 일화 중심적 뉴스 프레임을 취하고 있었다. 일화 중심프레임의 기사들이 피해 여성의 이미지를 형성하는 프레이밍 기제들은 가해자 중심의 서술 및 여성 피해자의 타자화, 남성필자의 가부장적인 시선, 선정적 묘사, 여성의 신체적 취약성과 수동성 강조, 피해자 여성 비난하기 등이었다. 주제 중심적 프레임 기사의 특성은 선정성 부각과 함께 사회구조 탓하기와 구체적 대안의 부재로 분석되었다. 후속보도가 이어진 하양피살사건에 대한 사례분석의 결과에 의하면, 사건의 내용이 바뀌었음에도 불구하고 사건발생 초기에 설정된 흥미위주의 여성에 대한 선정적 프레임은 지속되었으며, 이는 한국언론의 내재된 여성관을 확인시켜주는 대표적 사례였다. 이러한 결과는 선정성을 강조하는 언론의 상업주의적인 태도와 경직된 취재보도체제에 비롯되며, 특히 남성편향적인 프레임들은 경찰발표를 그대로 받아쓰는 관행적인 뉴스제작 관습과, 남성기자와 남성적인 뉴스조직의 가치판단에 의해서 형성된다. 두 신문은 정치적 노선의 차이에도 불구하고 여성을 다루는 방식에서 여성문제에 대한 무관심을 드러내는 동시에 가부장적인 여성관을 보여준다. 이는 우리사회의 보수세력과 진보세력의 담론 모두가 남성적 담론으로서 여성은 담론상의 위치에서 사회적 약자로서 소외되고 있음을 반증한다. The purpose of this study is to investigate the gender discourse of Korean newspapers. For this, the study analyzes the frames of crime news on Chosun Daily and Hangyurae Newspaper for 2 years. The data are collected using KINDS, and include 265 crime articles involving woman. According to the results of this research, the episodic frames are used in the most of crime news. The five frame devices are founded in the episodic frame articles; the male subjectivity and the female objectivity, the male-oriented perspectives which reporters have, the abused sexual details and sensationalism, the emphasis of women body's fragility which imply woman's unavoidability as victims, and finally, blaming women who are victims of crimes. And in the articles of thematic frames, the similar frame devices are found. In particular, they only emphasize the problem of crime and fail to suggest a concrete resolution. Finally, the study discusses the findings relating to the patriarchal news making convention and the commercialism of newspaper industry. The two newspapers have been pursuing quite different political lines in Korean society. It is generally considered that Hangyurae newspaper is progressive and Chosun Daily is conservative. However, this study reveals that the way dealt with women in the crime news are not different. It is concluded that Korean newspapers still produce the gender discourse based on male-centric perspective and patriarchal ideology.