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    동시대 자연/야생동물 다큐멘터리 장르의 확장성과 그 함의: <나의 문어 선생님>을 중심으로 = The Expansion of the Contemporary Nature/Nildlife Documentary Genre and Its Implications: Centered on <My Octopus Teacher>

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    https://www.riss.kr/link?id=A108892938

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    다국어 초록 (Multilingual Abstract) kakao i 다국어 번역

    Environmental issues such as the global climate crisis, ecosystem destruction, and biodiversity loss are becoming some of the most pressing issues facing humanity. <My Octopus Teacher (2020)> is a worthy text because it incorporates attitudes and perspectives requested by the current ecological en- vironment in the context of nature/wildlife documentaries. This paper analyzes the narrative structure of <My Octopus Teacher> and the audiovisual style of its visual representation. The analysis shows that the content and form of <My Octopus Teacher> are epistemologically progressive, dissolving the boundary between nature and humans. At the same time, the narrative and presentation of My Octopus Teacher is conservative in that it adheres to a popular and familiar narrative flow and au- diovisual style. However, the documentary performs a "sincere reflection" in both the content and for- mal aspects, including the production method. This reflection plays a major role in expanding the nature/wildlife documentary genre to an ecological perspective and gaining the trust of the audience.
    In other words, the documentary responds to commercial demands, public interest, and technological advancement, which are changes in the nature/wildlife documentary genre, but also guides the audi- ence to issues of ethics (environmental consciousness, ecological sense) with a progressive and re- flective perspective in content and form. <My Octopus Teacher> also has significant implications for nature/wildlife documentary education. <My Octopus Teacher>'s ecological perspective, production ethics, and emphasis on connecting with nature are essential to the interpretation and creation of contemporary nature/wildlife documentaries.
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    Environmental issues such as the global climate crisis, ecosystem destruction, and biodiversity loss are becoming some of the most pressing issues facing humanity. <My Octopus Teacher (2020)> is a worthy text because it incorporates attitudes an...

    Environmental issues such as the global climate crisis, ecosystem destruction, and biodiversity loss are becoming some of the most pressing issues facing humanity. <My Octopus Teacher (2020)> is a worthy text because it incorporates attitudes and perspectives requested by the current ecological en- vironment in the context of nature/wildlife documentaries. This paper analyzes the narrative structure of <My Octopus Teacher> and the audiovisual style of its visual representation. The analysis shows that the content and form of <My Octopus Teacher> are epistemologically progressive, dissolving the boundary between nature and humans. At the same time, the narrative and presentation of My Octopus Teacher is conservative in that it adheres to a popular and familiar narrative flow and au- diovisual style. However, the documentary performs a "sincere reflection" in both the content and for- mal aspects, including the production method. This reflection plays a major role in expanding the nature/wildlife documentary genre to an ecological perspective and gaining the trust of the audience.
    In other words, the documentary responds to commercial demands, public interest, and technological advancement, which are changes in the nature/wildlife documentary genre, but also guides the audi- ence to issues of ethics (environmental consciousness, ecological sense) with a progressive and re- flective perspective in content and form. <My Octopus Teacher> also has significant implications for nature/wildlife documentary education. <My Octopus Teacher>'s ecological perspective, production ethics, and emphasis on connecting with nature are essential to the interpretation and creation of contemporary nature/wildlife documentaries.

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    참고문헌 (Reference)

    1 김지선 ; 최영희, "환경다큐멘터리 관람 전후의대학생 환경의식과 고래관광 선호 차이- The Cove 관람 전후 비교 -" 관광연구소 25 (25): 99-117, 2013

    2 이종수, "포스트 텔레비전시대의 다큐멘터리 트렌드" 커뮤니케이션북스 2015

    3 김세희 ; 신창호, "지속과 변신의 순환을 통한 성장으로서 자기교육 고찰-다큐멘터리 영화 <나의 문어 선생님(My Octopus Teacher)>을 중심으로-" 한국교육사상학회 35 (35): 51-67, 2021

    4 이종수, "자연/환경 다큐멘터리의 대중 서사전략: '아마존의눈물'(MBC)와'아마존'(BBC) 비교분석" 한국언론학회 54 (54): 374-398, 2010

    5 Chatman, S., "이야기와 담론: 영화와 소설의 서사구조" 푸른사상 2003

    6 박미영, "영화적 경험과 사변적 실재론 - 『영상이미지의 생태학: 영화, 정동, 자연』의 포스트휴머니즘" 대중서사학회 29 (29): 255-274, 2023

    7 박제철, "슬로우 시네마의 에코-슬로우 미학과 그 비의식적 경험" 한국영화학회 (88) : 459-486, 2021

    8 Barnouw, E., "세계 다큐멘터리영화사" 다락방 2000

    9 Wilson, E., "바이오필리아" 사이언스북스 2010

    10 문경연, "다큐멘터리의 내러티브 전략과 에세이영화적 특징 고찰 -<나의 문어 선생님>(2020)을 중심으로-" 한국문학이론과비평학회 26 (26): 291-313, 2022

    1 김지선 ; 최영희, "환경다큐멘터리 관람 전후의대학생 환경의식과 고래관광 선호 차이- The Cove 관람 전후 비교 -" 관광연구소 25 (25): 99-117, 2013

    2 이종수, "포스트 텔레비전시대의 다큐멘터리 트렌드" 커뮤니케이션북스 2015

    3 김세희 ; 신창호, "지속과 변신의 순환을 통한 성장으로서 자기교육 고찰-다큐멘터리 영화 <나의 문어 선생님(My Octopus Teacher)>을 중심으로-" 한국교육사상학회 35 (35): 51-67, 2021

    4 이종수, "자연/환경 다큐멘터리의 대중 서사전략: '아마존의눈물'(MBC)와'아마존'(BBC) 비교분석" 한국언론학회 54 (54): 374-398, 2010

    5 Chatman, S., "이야기와 담론: 영화와 소설의 서사구조" 푸른사상 2003

    6 박미영, "영화적 경험과 사변적 실재론 - 『영상이미지의 생태학: 영화, 정동, 자연』의 포스트휴머니즘" 대중서사학회 29 (29): 255-274, 2023

    7 박제철, "슬로우 시네마의 에코-슬로우 미학과 그 비의식적 경험" 한국영화학회 (88) : 459-486, 2021

    8 Barnouw, E., "세계 다큐멘터리영화사" 다락방 2000

    9 Wilson, E., "바이오필리아" 사이언스북스 2010

    10 문경연, "다큐멘터리의 내러티브 전략과 에세이영화적 특징 고찰 -<나의 문어 선생님>(2020)을 중심으로-" 한국문학이론과비평학회 26 (26): 291-313, 2022

    11 Nichols, B., "다큐멘터리 입문" 한울아카데미 2005

    12 최우, "다큐멘터리 <나의 문어 선생님>에 대한 분석과 고찰" 현대사진영상학회 24 (24): 107-118, 2021

    13 Berger, J., "다른 방식으로 보기" 열화당 2012

    14 Bagust, P., "ʻScreen naturesʼ: Special effects and edutainment in ʻnewʼ hybrid wildlife documentary" 22 (22): 213-226, 2008

    15 Horak, J. C., "Wildlife documentaries: From classical forms to reality TV" 18 (18): 459-475, 2006

    16 Cabeza San Deogracias, J., "Thinking about television audiences: Entertainment and reconstruction in nature documentaries" 28 (28): 570-583, 2013

    17 Richards, M., "The wildlife docusoap: A new ethical practice for wildlife documentary?" 15 (15): 321-335, 2014

    18 MacDonald, S., "The ecocinema experience" Routledge 2012

    19 Sea Change Project, "Sea Change Project"

    20 Cottle, S., "Producing nature(s): on the changing production ecology of natural history TV" 26 (26): 81-101, 2004

    21 Scott, K. D., "Popularizing science and nature programming: The role of “spectacle” in contemporary wildlife documentary" 31 (31): 29-35, 2003

    22 Arendt, F., "Nature documentaries, connectedness to nature, and pro-environmental behavior" 10 (10): 453-472, 2016

    23 McNeely, J. A., "Nature and COVID-19: The pandemic, the environment, and the way ahead" 50 (50): 767-781, 2021

    24 Ehrlick, P., "My Otopus teacher <나의 문어 선생님> [Film]"

    25 Willoquet-Maricondi, P., "Framing the world: Explorations in ecocriticism and film" University of Virginia Press 2010

    26 Fürsich, E., "Between credibility and commodification : Nonfiction entertainment as a global media genre" 6 (6): 131-153, 2003

    27 Bousé, D., "Are wildlife films really “nature documentaries”?" 15 (15): 116-140, 1998

    28 Curtin, M., "" Packaging Reality" the Influence of Fictional Forms on the Early Development of Television Documentary" 137 : 1993

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