문화적 실천으로서의 팬덤, 스타중심에서 쓰기 텍스트(writerly text)로 = 〈형사 duelist〉와 팬클럽 '형사중독'을 중심으로

다국어 초록 (Multilingual Abstract)

On this thesis, I took the fandom as a proactive component of culture rather than its limit on existing discussion on fandom and would like to analyze and clarify the process of the effect of the cultural action being continuously changed and articulated and relocated through the movie 'Duelist(directed by Lee, Myung Seo)' and its fan club 'Duelist Addict'
Also the purpose is to clarify the changes on culture business from star-oriented to writerly text by the people become space for cultural action against anti-mainstream culture. This try will be meaningful for it suggests an alternative to the existing studies on movies practice-focusing on history of cinema and excluding the cinema audiences, although a movie is consisted by manufacturing body including movie texts, directors and actors, and cinema audiences as consuming body. The alternatives study on history of Korean movie on socio-cultural method, breaking from text study, will include not only text analysis but also contextual component, 'popularity' and social connection.
The study on movies needs to take industry-text-audience as a circular structure but it tends to focus on the industry-text in practice. But as the role of fandom grows, the voices of audiences become diverse, plenty and high, it will help the study enlarging its boundary from the present focus on manufacture structure, the strong relationship between industry and text to the critical component, audience.
The movie, 'Duelist' by Lee, Myung Seo with richness in style failed in the box office. However, it paradoxically distinguished fandom, showing existenceof real audiences in its harsh failure. This writing further tracks down such process and re-writes the text of 'Duelist' as the example of writerly text emphasized by Barthes.
This writing analyzes the forming process, activities and the current meaning of 'Duelist Addict', which showed the typical fandom freshly based on Fiske's theory; first, they positioned themselves by thoroughly distinguishing the in and out (differentiation), second, such selected fandom members help text re-writing by watching the movie repeated (production), third, they form their own community through such process (accumulation of culture capital)
Also fans should regard cultural actions and texts produced by themselves as the result of pleasures primarily. John Fiske crossed the pleasure and resistance in culture and the culture consumption by mass is the production of meaning and pleasure at the same time resistant practice such as changes of meaning.
Through this film, people constantly keep up full arguments about their favorite scenes, script lines, and characters, and as a result, new meanings have being produced, tried to resist capitalism logic of 'outside' and the dominant press. Certainly this kind of behaviour of 'escape' are extension of resistance in a macroscopic view. Even though one can sophisticate fandom is not resistance but pleasure or desire of enjoyment, its action and symbolized expressions can demonstrate the resistance as stated above. Therefore the sense of resistance can be appeared in every de-coded and de-territorialized process.

목차 (Table of Contents)

• 1. 들어가며
• 2. 경제자본으로서 스타덤의 실패, 문화자본으로서 팬덤의 성공
• 3. 고증으로부터의 자유, 스타일의 향연: 〈형사 duelist〉 텍스트와 공론의 양분화
• 4. 〈형사〉와 '형사중독'
• 5. 팬덤과 문화실천
• 6. 피스크의 '팬덤의 세 특성'으로 본 '형사중독'
• 7. 〈형사〉 재상영 운동과 문화적 실천에 있어서 저항의 의미
• 8. 나오면서: 쓰기 텍스트(writerly text)와 관객의 다변화
• 참고 문헌
• Abstract