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      왜 다큐멘터리인가 = 다큐멘터리의 특별함에 관하여

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      https://www.riss.kr/link?id=A100478439

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      다국어 초록 (Multilingual Abstract)

      This article is a follow-up of one of the author’s recent articles, which was titled “What is Documentary” and where the author tried to find criteria for documentary. Lately that article seemed to the author to be lacking in two broad respects. One is that it did not discuss the documentary viewers’ subjective experiences. The other is that it almost ignored the post-modernist skepticism about documentary. This paper tries to address the deficiencies.
      On the subjective experience side, the author explains and emphasizes the documentary realism. The realism is based on the familiar photographic realism, but it also requires the viewer’s belief that the pro-filmic scene is/was not staged. The author argues that this realism is what makes documentaries attractive to us, as much as the information we get from them is. The experience is akin to viewing the past world via a hypothetical time-machine.
      On the skeptics side, the author tries to argue against the view that the fact of being photographic records does not confer documentaries some special status. The author thinks documentaries are special because it seems impossible to make (without fictional narration or dubbing) a fiction film from shots of unstaged scenes. “Shooting without staging” seems to be just a description of a way of filmmaking, but it seems to dictate that the product be a nonfiction. Nonfictions in other media do not exhibit this property. In nonfiction novel, for example, an observable feature of the process (writing sentences) does not dictate the type of product. In documentary films, the process overwhelmingly favors a nonfiction.
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      This article is a follow-up of one of the author’s recent articles, which was titled “What is Documentary” and where the author tried to find criteria for documentary. Lately that article seemed to the author to be lacking in two broad respects....

      This article is a follow-up of one of the author’s recent articles, which was titled “What is Documentary” and where the author tried to find criteria for documentary. Lately that article seemed to the author to be lacking in two broad respects. One is that it did not discuss the documentary viewers’ subjective experiences. The other is that it almost ignored the post-modernist skepticism about documentary. This paper tries to address the deficiencies.
      On the subjective experience side, the author explains and emphasizes the documentary realism. The realism is based on the familiar photographic realism, but it also requires the viewer’s belief that the pro-filmic scene is/was not staged. The author argues that this realism is what makes documentaries attractive to us, as much as the information we get from them is. The experience is akin to viewing the past world via a hypothetical time-machine.
      On the skeptics side, the author tries to argue against the view that the fact of being photographic records does not confer documentaries some special status. The author thinks documentaries are special because it seems impossible to make (without fictional narration or dubbing) a fiction film from shots of unstaged scenes. “Shooting without staging” seems to be just a description of a way of filmmaking, but it seems to dictate that the product be a nonfiction. Nonfictions in other media do not exhibit this property. In nonfiction novel, for example, an observable feature of the process (writing sentences) does not dictate the type of product. In documentary films, the process overwhelmingly favors a nonfiction.

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      목차 (Table of Contents)

      • 1. 들어가며
      • 2. 사진의 리얼리즘
      • 3. 다큐멘터리 리얼리즘
      • 4. 이 리얼리즘은 다큐멘터리 영화의 본질인가
      • 5. 다큐멘터리에 대한 회의론
      • 1. 들어가며
      • 2. 사진의 리얼리즘
      • 3. 다큐멘터리 리얼리즘
      • 4. 이 리얼리즘은 다큐멘터리 영화의 본질인가
      • 5. 다큐멘터리에 대한 회의론
      • 6. 다큐멘터리 = 극영화가 아닌 것
      • 7. 다큐멘터리의 특별함
      • 8. 결론
      • 참고문헌
      • Abstract
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      참고문헌 (Reference)

      1 문원립, "다큐멘터리란 무엇인가" 한국영화학회 (43) : 115-140, 2010

      2 Bazin, Andre, "What is Cinema? Vol. 1" University of California 1967

      3 Walton, Kendall, "Transparent Pictures: On the Nature of Photographs" 11 (11): 246-276, 1984

      4 Carroll, Noël, "Theorizing The Moving Image" Cambridge University Press 49-74, 1996

      5 Gilbert, Daniel, "The Momentary Realist" 11 (11): 394-398, 2000

      6 Plantinga, Carl, "Rhetoric and Representation in Nonfiction Film" Cambridge University Press 1997

      7 Skoller, Jeffrey, "Introduction to the Special Issue: Making It (Un)real" 6 (6): 207-214, 2011

      8 Nichols, Bill, "Introduction to Documentary" Indiana University Press 2001

      9 Vaughan, Dai, "For Documentary: Twelve Essays" University of California Press 1999

      10 Ward, Paul, "Documentary: The Margins of Reality" Wallflower Press 2006

      1 문원립, "다큐멘터리란 무엇인가" 한국영화학회 (43) : 115-140, 2010

      2 Bazin, Andre, "What is Cinema? Vol. 1" University of California 1967

      3 Walton, Kendall, "Transparent Pictures: On the Nature of Photographs" 11 (11): 246-276, 1984

      4 Carroll, Noël, "Theorizing The Moving Image" Cambridge University Press 49-74, 1996

      5 Gilbert, Daniel, "The Momentary Realist" 11 (11): 394-398, 2000

      6 Plantinga, Carl, "Rhetoric and Representation in Nonfiction Film" Cambridge University Press 1997

      7 Skoller, Jeffrey, "Introduction to the Special Issue: Making It (Un)real" 6 (6): 207-214, 2011

      8 Nichols, Bill, "Introduction to Documentary" Indiana University Press 2001

      9 Vaughan, Dai, "For Documentary: Twelve Essays" University of California Press 1999

      10 Ward, Paul, "Documentary: The Margins of Reality" Wallflower Press 2006

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      학술지 이력

      학술지 이력
      연월일 이력구분 이력상세 등재구분
      2026 평가예정 재인증평가 신청대상 (재인증)
      2020-01-01 평가 등재학술지 유지 (재인증) KCI등재
      2017-09-22 학회명변경 영문명 : Film Studies Association Of Korea (Fisak) -> Korean Cinema Association (KCA) KCI등재
      2017-01-01 평가 등재학술지 유지 (계속평가) KCI등재
      2013-01-01 평가 등재 1차 FAIL (등재유지) KCI등재
      2010-01-01 평가 등재학술지 유지 (등재유지) KCI등재
      2007-01-01 평가 등재학술지 선정 (등재후보2차) KCI등재
      2006-04-09 학술지등록 한글명 : 영화연구
      외국어명 : Film Studies
      KCI등재후보
      2006-01-01 평가 등재후보 1차 PASS (등재후보1차) KCI등재후보
      2004-01-01 평가 등재후보학술지 선정 (신규평가) KCI등재후보
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      기준연도 WOS-KCI 통합IF(2년) KCIF(2년) KCIF(3년)
      2016 0.58 0.58 0.59
      KCIF(4년) KCIF(5년) 중심성지수(3년) 즉시성지수
      0.58 0.55 1.055 0.29
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