다큐멘터리 스토리텔링에 대한 고찰

다국어 초록 (Multilingual Abstract)

Dramatic structure and storytelling in documentaries are often expressed with a modifier called ‘dramatic’. The dramatic structures in <Old Partner>(2008) and <Nanook of the North>(1922) have also been considered to have borrowed from the genre of drama. However this view results in taking storytelling in documentary as a taboo. This is because it implies that these films are not considered to have the characteristics of documentaries any more. However it is unavoidable to take narrative and a narrative structure when a documentary is a film. <Nanook of the North> which lies in extended line of travelogue was clearly differentiated from the traditional travelogue in aspect of storytelling. Even though the first full-length documentary was stemmed from storytelling, a narrative is still considered as dramatisation or fiction as long as the general concept of documentary excludes a narrative component. However those understandings make the relationship between documentary and narrative rather ambiguous. Storytelling is not an exclusive property of fiction. Therefore it is required to reconsider the view, recognizing the storytelling in <Nanook of the North> as an introduction of dramatisation in documentaries. No matter what Grierson meant by ‘creative treatment of actuality’, which has been a subject of debate, the documentaries after <Nanook of the North> have been heading towards ‘dramatic -structure storytelling’.
The premise of the actuality and aesthetics of drama contradicting each other would restrict fundamental debate of documentary. Consequently, it might lead us to unproductive debates when there is no clear answer to what documentary is. There have been discussions on the need of aesthetic extension in documentary, and also a question has been raised on how the aesthetic component comes into conflict with the actuality of documentary. If we do not convert this dilemma to another angle, the discussion on documentary will be returned to the same point constantly. Hence this study brings up that there are various views on storytelling in documentary mixed together, and has the means to re-evaluate the storytelling as not only a dramatic aesthetic component, but also as a traditional way of representing documentary. By comparison, <Old partner> and <Nanook of the North> points out the backlash of <Old partner> towards dramatic film device represents the attitude from prototype realism which means documentary records as it is. Documentaries are not simply a recording of what has happened. Ultimately the discussion is caused by confusion from dichotomous thinking. The study will contribute to give storytelling a meaning in documentary by studying the possibilities and limitations of storytelling in documentary.

목차 (Table of Contents)

• 1. 서론
• 2. 다큐멘터리와 스토리텔링: 다큐멘터리에서 스토리텔링은 필요한가?
• 3. 북극의 나누크: 다큐멘터리에서 스토리텔링은 어떻게 시작되었나?
• 4. 북극의 나누크 vs. 워낭소리 : 사실성의 추구와 스토리텔링은 상호 배치되는가?
• 5. 결론
• 참고문헌
• Abstract

참고문헌 (Reference)

1 강정석, "한국영화 흥행분석: <과속스캔들>과 <워낭소리>" 59 : 2009

2 김광욱, "스토리텔링의 개념" 겨레어문학회 41 (41): 249-276, 2008

3 이기중, "북극의 나누크: 로버트 플래허티의 북극 탐험과 다큐멘터리 영화의 탄생" 커뮤니케이션북스 2008

4 전평국, "매체 다원화 시대 다큐멘터리 장르의 경계에 관한 연구" 한국영화학회 (37) : 351-382, 2008

5 이기중, "로버트 플래허티(Robert Flaherty)의 <북극의 나누크>(Nanook of the North)의 제작 과정과 인류학적 의미연구" 한국문화인류학회 37 (37): 183-222, 2004

6 최현주, "디지털 테크놀로지의 발달과 다큐멘터리 스토리텔링 방식의 변화" 한국지역언론학회 13 (13): 397-432, 2013

7 잭 엘리스, "다큐멘터리의 새로운 역사" 비즈앤비즈 2011

8 계운경, "다큐멘터리의 극미학적 효과와 대중성 —<북극의 나누크>와 <워낭소리>를 중심으로" 문학과영상학회 11 (11): 7-31, 2010

9 최민성, "다큐멘터리와 스토리텔링" 한국언어문화학회 40 (40): 311-332, 2009

10 맹수진, "다큐멘터리와 리얼리티 : <워낭소리>를 중심으로" 22 (22): 2010

11 피종호, "다큐멘터리영화의 리얼리즘과 허구성" 한국카프카학회 18 (18): 99-117, 2007

12 유현석, "다큐멘터리를 이해하는 방법, 진실과 리얼리티" 15 (15): 2009

13 프랑수아 니네, "다큐멘터리란 무엇인가" 예림기획 2009

14 윤종욱, "다큐멘터리 영화의 구성 -해체주의적 접근의 이론과 실제-" 한국독어독문학교육학회 50 (50): 361-385, 2011

15 세일라 커런 버나드, "다큐멘터리 스타일" 커뮤니케이션북스 2014

16 차민철, "다큐멘터리" 커뮤니케이션북스 2014

17 류은영, "내러티브와 스토리텔링 : 문학에서 문화콘텐츠로" 인문콘텐츠학회 14 (14): 229-262, 2009

18 허욱, "경계를 넘는 도전 – 다큐멘터리의 재현 양식 연구" 2011

19 오원환, "‘소프트 다큐멘터리’ 장르의 영상미학 연구: KBS 분석을 중심으로" (재)에스비에스문화재단 8 (8): 103-143, 2010

20 Trevor Ponech, "What Is Non-Fiction Cinema? (Thinking Through Cinema)" Westview Press 1999

21 Michael Renov, "Theorizing Documentary" Routledge 1993

22 Robert Sherwood, "The Documentary Tradition" W. W. Norton & Company 1979

23 Robert Flaherty, "The Cinema 1950" Pelican 1950

24 Seymour Benjamin Chatman, "Story and Discourse: Narrative Structure in Fiction and Film" Cornell University Press 1980

25 Jay Ruby, "Robert Flaherty, Photographer/Filmmaker: The Inuit, 1910-1922" 1979

26 Bill Nichols, "Representing Reality: Issues and Concepts in Documentary" John Wiley & Sons 1992

27 Frances Hubbard Flaherty, "Odyssey of a Film-Maker: Robert Flaherty's Story" Threshold Books 1984

28 Erik Barnouw, "Documentary: A History of the Non-Fiction Film" OUP USA 1993

29 Paul Rotha, "Documentary film : the use of the film medium to interpret creatively and in social terms the life of the people as it exists in reality" Faber & Faber 1964

30 Brian Winston, "Claiming the Real" British Film Institute 1995

31 김영혜, "<워낭소리>의 픽션(fiction)적 내러티브 구축에 대한 연구" 현대영화연구소 6 (6): 187-216, 2010

32 문원립, "<워낭소리>에서 이미지와 소리의 허구적 동시성에 관한 연구" 현대영화연구소 5 (5): 141-169, 2009