이준익 영화의 카니발리즘 연구

최배석(Choi, Bae Suk) 한국영화학회 2013 영화연구 Vol.0 No.55

This study analyzed how the chief characteristics of Mikhail Bakhtin’s carnival theory are realized in Lee Jun Ik’s movies, 〈Once Upon A Time In The Battlefield〉, 〈King And The Clown〉, 〈Blades of Blood〉, and 〈Battlefield Heroes〉, taking history as their subject matter and also what kind of new meaning the characteristics create for the audience. Dividing the main characteristics of Bakhtin’s carnival theory into four categories, this paper used them as the frame of reference for the analysis. First, according to the examination on 〈Once Upon A Time In The Battlefield〉 and 〈Battlefield Heroes〉 from the aspects of the carnivalization of war and the destruction and rollover of hierarchical order, they do carnivalization with the war itself as a gust of festival through the mechanism of satire and laughter and deconstruct the recognition on history, the fixed and lined-up formal culture. With this, the director builds a reversed carnival world and produces the world of freedom and equality. 〈King And The Clown〉 also shows the ‘delightful relativity’ of satire and laughter with the mask play and the square language and also the king’s degradation and the carnival characteristics of crowning and decrowning. Also, it has been discovered that 〈Blades of Blood〉, too, shows the decentration and deconstruction of carnivalism and conformity to the core value of revival and rehabilitation with the gaze at the world of hopes made by the negation of the oppressive ruling culture and the collision of human desire. Second, it has been found that from the aspects of square language and the destruction of formal speech codes, it acquires ambivalent value, that is, to secure freedom and equality through vulgar words, laughter, abuse, and insult over divinity or absolute power. Moreover, through the abuse, dialect, and the linguistic parody, it destroys formal speech codes, and also with the mechanism of laughter, it enhances the recognition on history and produces the multiphony of perception on reality. Third, from the aspects of distortion and grotesqueness of figures, either historical facts or figures were expressed in the forms of distortion, exaggeration, abasement, or satire. It is not about the character and image of a fixed figure in history but about the creation of a new figure, that is, the grotesque carnival characteristics of duplicity. In this way, it lays down the existing order of consciousness, and from various viewpoints, it provides another possibility to interpret the movie to see a new world. Fourth, it is about the aspects of historical satire and ideology. Watching historical films has the properties of projecting reality into them. All the films analyzed here have the ideology to provide previous value to the lives of grass-roots individuals rather than the value pursued by formal culture, that is, the macro-discourse value. 〈Blades of Blood〉 depicts the futility of producing the mixed collision of human desire to propose the sight to criticize reality. As written above, Lee Jun Ik’s movies let us reflect on reality with the mirror of laughter. And it has been found that the film aesthetics letting us acquire ambivalent value conforms to Mikhail Bakhtin’s carnivalism.

다양한 증진을 위한 프랑스 영상 정책과 극장의 역할

최배석(Choi Bae Suk) 프랑스문화예술학회 2009 프랑스문화예술연구 Vol.30 No.-

실재스토리 팩션 영화 대(對) 허구스토리 팩션 영화의 수용자 평가에 대한 비교연구

최배석(Bae Suk Choi) 한국콘텐츠학회 2016 한국콘텐츠학회논문지 Vol.16 No.2

영화 〈명량〉은 기본적으로 역사적 기록에 근거하고 있으며, 영화 〈군도〉는 기록되지 않은 역사에 대한 새로운 서술이라고 할 수 있다. 본 연구는 실재스토리 팩션 영화 〈명량〉과 허구스토리 팩션 영화 〈군도〉를 모두 관람한 관객들을 대상으로 영화 콘텐츠 이해와 평가에 있어 어떠한 차이가 있는지를 살펴보았다. 이를 위해 정성적 내용 분석을 시도하였으며, 전국 단위 설문조사를(N = 300) 통해 보완적 통계분석을 함께 수행하였다. 연구결과, 관객은 〈명량〉을 사실의 이야기로서 〈군도〉를 상상의 이야기로서 받아들이고 있었다. 다음으로 관객들은 두 영화에 따라 이데올로기적, 감정적 평가를 다르게 하고 있었으며 영화에 대한 상기도에 있어서도 차이를 보였다. 끝으로 영화를 허구적 이야기 또는 오락적 수단으로 받아들이는 관객일수록 다원주의적 역사 해석이라는 영화의 실천적 가치에 대한 인식은 낮은 것으로 분석됐다. 〈Roaring currents〉 is basically based on a written history but 〈Gundo〉 is narrated for an unwritten history with imagination. This study explored whether viewers of tow films 〈Roaring currents〉 and 〈Gundo〉 regard them as a real story or an unreal story. Analysis of film contents and data from a nationwide online survey(N = 300) were executed. This study found the following. First, viewers consider 〈Roaring currents〉 a true story but 〈Gundo〉 a imaginary story. Second, viewers show different ideologial and emcotional evaluation, and strength of memory between two films. Finally, viewers are not likely to evaluate performative value of two history films, which suggest a pluralistic interpretation of history, as they regard the films as an imaginary story or a recreation.

영화에 대한 사전지식이 추천 행위에 미치는 효과에 관한 연구

최배석(Choi, Bae Suk) 한국영화학회 2013 영화연구 Vol.0 No.58

This study investigated how individuals ‘acquired knowledge about a movie before viewing it influence their recommendation about it through their flow of viewing it and their attitude toward it. The data from nationwide survey with a stratified sampling were analyzed (N = 451). This study found that (1) The more knowledge about a movie, the stronger flow into viewing it; (2) The stronger flow into viewing a movie, the more positive attitude toward it; (3) the more positive attitude toward a movie, the more frequent recommendation about it; (4) knowledge about a movie before viewing it reinforce recommendation activity about, multi-mediated by attitude toward it following flow of viewing it. And theoretical and practical implications were discussed.

한국인의 정치적 팬덤 정서와 영화의 수용

최배석(Bae Suk Choi) 한국콘텐츠학회 2018 한국콘텐츠학회논문지 Vol.18 No.1

보수와 진보, 이념적 갈등이 빚어내는 정치 정서의 팬덤현상은 문화매체인 영화를 해석하고 수용하는데에 있어 우리사회의 갈등을 증폭시키는 요인이 되고 있다. 이 글은 우리나라 정치의식구조가 왜 팬덤화되고 있나, 무엇이 영화 수용을 정치 이념의 논란의 중심에 서게 하였는가, 그렇다면 바람직한 영화 수용의 태도는 무엇인가를 점검해 보고자 수행되었다. 당시 영화를 두고 보수와 진보의 논란이 되었던 〈변호인〉,(2013)과 〈국제시장〉,(2014) 관련 논문과 기사 그리고 인터넷상의 논쟁들을 면밀히 살펴보는 담론분석을 실시하였다. 연구 결과, 첫째, 보수 진보 양진영은 두 영화를 해석하고 수용함에 있어서 다른 시선으로 같은 세계를 보고 있으며, 두 영화의 공식기억을 정치정서의 양극화와 기억투쟁의 이데올로기, 진영화를 구축하는 기재로 이용하고 있다는 것을 알 수 있었다. 둘째, 근현대사에 대한 합의된 기억의 구성이 되지 못함으로써 양세력 간에 서로의 공과를 인정치 않으며 자기 진영의 의미와 가치성만을 외치는 이기성이 갈등을 증폭시키고 있었다. 셋째, 영화 해석과 의미생산은 결국 관객들의 몫이며 거기에는 다양성이 중요한 가치성을 지닌다. 영화 수용은 관객 개인들이 현재의 현실에서 어떻게 해석하고 이상을 이성적으로 성찰하는 계기로 삼는 것이 바람직한 태도일 것이다. The fandom phenomenon of political emotion originated from ideological conflicts between the conservative and the progressive amplifies social conflicts in South Korea in interpreting and accepting films as culture media. The purpose of this paper is to examine why the structure of political consciousness in South Korea is fandomized, what is the acceptance of cinema at the center of the controversy of political ideology, and what is the desirable attitude of film reception. I conducted a discourse analysis that closely examined the debates and articles on the internet regarding 〈The Attorney〉,(2013) and 〈Ode to My Father〉,(2014) which were controversial in terms of conservatism and progressivism. As a result, First, while Korean society has not constituted a consensus on modern and contemporary history, it has easily led the acceptance of cinema to the controversy surrounding the political ideology. Second, the failure of constructing consensual memories of modern and contemporary history has made the conservative and the progressive not acknowledge the other’s achievements. Third, film interpretation and meaning production are ultimately the roles of the audience, and on interpretation, diversity should be respected but conformity would be rejected. Film acceptance and interpretation should focus on rational awareness of social reality and would reflect on the social ideal objectively.

3D 입체영상의 성인멜로영화 적합성 연구

최배석(Choi Bae Suk) 한국영화학회 2011 영화연구 Vol.0 No.47

Is it possible to use the 3D effect like in "Avatar" for the movies of other genres, sports programs, documentaries and other similar programs of tragic (非?的) genre, to achieve the same effect? Can you experience the real feeling of spaciousness and depth of emotion in 2D that really contributes to the enhancement? Will 3D effects work for adult melodramas containing a lot of sexual scenes? These questions were put in the basis of this research and the empirical analysis was performed to show what effect it would have on the viewers. To complete this study, we need to use more effective research methods than quantitative methods as it is difficult to be physically engaged in such researches, the method of "focus group" was chosen where professionals related to production of 3D movies were engaged in detailed discussions to examine the research questions. The results of our research confirm the results of previous researches as well as bringing out some new facts. The display size, the viewing distance to create a sense of reality, the limitations of sharpness of definition in adults melodramas were analyzed. We collected the comments on the technical aspects of production of the adult melodramas, the importance of camera position and angle, usage of cranes. In addition, 3D images than we expected to contribute to the emotional perception of adult melodramas turned out to be not that effective. If from the beginning the movie was not planned as a 3D movie, if it is not a CG movie or a movie with the elements of animation, to put it in other words, the movie is fully realistic, there are limited benefits of 3D effects for such kind of movies. Further research of technical means to create 3D effects for fully realistic movies required. The research is limited due to the restriction of the viewers aged under 18 as well as the absence of AV private rooms for watching such kind of movies.

‘Leos Carax’ 영화에 나타난 소외의식 연구

최배석(CHOI Bae-Suk) 프랑스문화예술학회 2011 프랑스문화예술연구 Vol.37 No.-

전통인형극〈꼭두각시놀음〉에 나타난 몰입과 소격의 변증법

최배석(Bae-Suk Choi) 한국콘텐츠학회 2019 한국콘텐츠학회논문지 Vol.19 No.3

몰입과 소격의 이중구조로 되어 있는 〈꼭두각시놀음〉에서는 상충하는 두 요소가 어떻게 변증법적으로 통합되고 그것이 주는 수용미학의 의미와 가치는 무엇인가를 탐색해 보고자 본 논문은 수행되었다. 연구 결과 첫째, 브레히트가 제시한 소격 효과 기법들이〈꼭두각시놀음〉에서는 몰입 기법으로 기능할 수 있음을 보여주었다. 둘째, 관객의 참여성 확대를 위한 산받이의 역할은 몰입 효과와 함께 소격 효과를 동시에 산출 한다. 이러한 산받이의 이중적 기능은 변증법적으로 통합되며 관객의 이성적 현실 성찰과 웃음과 즐거움, 그리고 유희성을 동시에 거양(靈揚)해 낸다. 셋째, 인형극은 현실묘사의 방법이 아니라 현실 바라보기 방법으로서 유효하다. 그런면에서 인형극 〈꼭두각시놀음〉은 대항 담론의 생산방식으로 표현의 확장성이 무한하며 어느 공연양식보다 효과적이라는 것을 보여준다. This study points out how the two conflicting elements of empathy and estrangement that constitute the dual structure of 〈Kokdugaksinorum〉 are incorporated by dialectic; finally, this paper explores the spontaneous estrangement effects meaning and value on the point of view of reception aesthetics. As results of these studies, First, the Brechtian set of estrangement effects techniques showed that in 〈Kokdugaksinorum〉 it could function as an empathy technique for audiences. Second, the role of Sanbazi to increase the audiences participation was to produce both the immersion effect and the estrangement effect simultaneously. These double features of Sanbazi are dialectically incorporated and simultaneously bring about both the social reality reflection and enjoyment of the audience. Third, the puppetry is valid as not a way to describe reality but one of the ways to look at social reality. Conclusionally, in terms of producing counter discourse, the puppet show 〈Kokdugaksinorum〉 has more extensible than any other form of performance with regard to expression.

영화 콘텍스트, 비평가 신뢰도, 관람객 관여도가 영화에 대한 태도 변화에 미치는 영향

최배석(Choi, Baesuk) 한국영화학회 2014 영화연구 Vol.0 No.62

This study examined how a viewer’s involvement with a film and credibility toward its critic influence a viewer’s attitude change in an art film and a commercial film respectively. A quasi-experiment of 237 Korean students in the Seoul metropolitan area was carried out to test several hypotheses. This study found that (1) strength of film context has a positive(+) effect on attitude change; (2) credibility toward a critic has a negative(-) effect on attitude change; (3) involvement with a film has a positive(+) effect on attitude change; (4)in a high-context film(vs. a art film), the more involved a viewer with the higher credibility toward a film critic, the bigger attitude change. Finally, theoretical and practical implications were discussed.

소설의 영화로의 매체전이에 따른 불확정성 영역에 관한 고찰

최배석(Choi, Bae Suk) 한국영화학회 2013 영화연구 Vol.0 No.57

Embracing all the work of art, the most significant concepts are interpretation and the assessment of the value. A purpose of interpretation is to discover the meaning. Interpretation of plural and skeptical stance is characterized by uncertainty and indeterminacy. These characteristics recognize various significations and by emphasizing recipient’s active role, these characteristics enable readers to complete the work, which demonstrates a value of open beauty. Both novel and movie are characterized by description. However, novel and movie are different in the way each work has its own material and method of expression. Novel, which utilizes a written language, is newly proposed to the audience by collision and fusion with movie director’s subjective interpretation and a movie’s unique materialistic characters. This process creates another range of indeterminancy. In the movie, by considering a producer’s side as an audience, uncertainty is accepted as a part that completes meaning. Anti-illusionist authors, who tried to give audiences a space they can create and own by themselves, attempted various cinematic techniques and this is a reaction to the classic movie’s nature of regarding audience as unilateral recipient. Their consistent goal is securing uncertain space, which is a domain of indeterminancy. Moreover, movie and novel’s depiction of the story is differentiated by the substantial and medium gap. This causes method of organization and format difference. As a result, recipients’another embracing mechanism is required. As a multi-channel’s concretion of information, movie is a medium, which has a large possibility of creating unintended meaning, and gives a rise to domain that allows interpretation and make of meaning regardless of producer’s intention. From the process of dramatizing a novel, expansion and the reduction of the episode are likely to occur. Therefore, movie inevitably generates uncertain element. Furthermore, in accordance with the conversion of point, double depiction, which is consist of an image and a language, within-run precision, and a montage, unique aesthetic space, which can only be created and completed by the audience, is reproduced. Unlike novel, which is a thought medium, movie is a perceived medium, which mainly utilizes reflection image. From the technical aspect of camera or image or auditive material such as music, narrative and aesthetic languages are generated. These languages afford new creative space. Just as a filming of novel produces uncertain domain, which enables audience to experience beauty that cannot be found in novel, so too does it demonstrate that movie is a valuable element that leads into highdimensional art.