영상예술 교육과정에서 효율적인 미디어 활용과 교육방법 = Effective Usage of Media and Educational Methodology in the Education of Visual Art

다국어 초록 (Multilingual Abstract)

In the 90s, the concept of education of image art in Korea, an art form based upon visual information, has become more diverse and extended, distinguished from the concept of such general media as television and motion picture. Currently, the history of most art related departments in colleges (including 2-year college) at home that focus upon practical education of dynamic image art is shorter than five years. It appears that the departments short history is because of several factors: 1) it is difficult to distinguish the department from that of drama and motion picture, of journalism and mass media, and that which is related to formative art, 2) it is hard to cover various types of media in a short period time, and 3) it requires purchase of expensive equipment, thus not being practical enough. At present time when the extent of visual information through video and multi-media are important, however, the demand for dynamic image specialists is rapidly increasing. Although social demand for various media is increasing as more and more people have access to computers, those media are not being used rationally at present, which makes it important to resolve the problem rapidly through specific and efficient educational methods.
Image art is not simply aesthetic or individual expression; it is a type of media through which an active communication is made with the general public and its techniques continue to be developed with the advancement of popular culture. However, it is more important to focus on videio art, which has been the most efficient and basic art form than to accept all new dynamic art media like a craze. After analyzing existing educational courses of video related classes at the school of fine arts at the university of Wisconsin, Madison, and curriculum of image art related media courses at the art college of Zukuba university in Japan, therefore, I applied them to actual conditions of educational institutions of Korea for image art. Firstly, the courses at the school of fine arts at the university of Wisconsin, Madison and at the Zukuba university are useful for performances and installation art, and for the development of expressiveness and message delivery, respectively. However, those courses are based upon the concept of projects, which is not effective for Korean students who cannot assume high costs and lack basic level of comprehension. For example, installation art generally requires many monitors and video equipment but students often cannot even afford to purchase a video or a movie camera. Also, performance and experimental aesthetics may oly cause confusion for students who do not have specific concept about various image arts, unless they went through such systematic courses as many theoretical studies and basic videos, or had experiences in creative activities. In this respect, it is my conclustion that, for true education of image art, image art needs to be extended from its short history through a gradual process. That is, at first, it is desirable to comprehend basic areas like short films or documentaries through project composition of educational courses or through works that are regenerated in video photographing and monitors in the contents and processes of learning.

목차 (Table of Contents)

• Ⅰ. 서론
• Ⅱ. 본론
• 1. 영상예술의 개념과 외국교육기관의 교육과정
• 가. 영상예술의 개념
• 나. 외국교육기관의 교과과정과 국내교육 기관의 비교
• 다. 외국교육기관의 교과과정의 효율적인 수용방안
• 2. 영상예술의 기초교육
• 가. 기초교육과정의 중요도와 필요성
• 나. 비디오영상의 기초교육
• 3. 비디오 기초교육
• 가. 비디오기초교육Ⅰ
• (1) 자료분석
• (2) 기본촬영기법
• (3) 재편집
• (4) 사운드를 위한 이미지 작업
• (5) 스토리보드 및 콘티 제작
• 나. 비디오기초교육과정Ⅱ
• (1) 작품의 형식선택
• (2) 방향제시
• (3) 촬영 테크닉
• (4) 비평
• (5) 전시
• Ⅲ. 결론
• ABSTRACT