역동적으로 변화하는 내면의 자아표현 : 본인작품 중심으로

문미원 대구대학교 대학원 2004 국내석사

언론수용자운동 단체의 미디어 교육특성 분석연구

문미원 서강대학교 언론대학원 2000 국내석사

이 논문은 우리나라 언론수용자운동 단체에서 실시한 미디어 교육 프로그램의 특성을 연구한 것이다. 논문의 연구방법은 문헌연구를 위주로 전화인터뷰와 참여관찰, 직접 방문을 통한 심층인터뷰 방법을 병행하였다. 분석대상은 비교적 단체성격이 뚜렷하고 지속적으로 미디어 교육 실시해온 다섯 개 단체를 선정하였다. 언론수용자운동 단체 미디어 교육을 시대별로 나누어 연구하고 미디어 교육을 7가지 교육유형별로 분류하여 그 특성을 분석하였다. 먼저 시대적 분석은 각 단체가 생성된 시기와 미디어 교육의 성격변화, 발달과정을 고려해 제 1기(생성기: 1984-86), 제 2기(성장기: 1987-90), 제 3기(도약기: 1991- 95)와 제 4기(발전기: 1996-2000 현재)의 네 단계의 시대구분을 하였다. 각 시기의 시대적 상황과 언론수용자운동 단체 출범시기를 살펴보고 분석대상 단체별로 운동목표, 조직구성, 운영방식을 비교분석하였다. 단계별로 각 시대의 특성을 보면 다음과 같다. 제 1기는 여협 모니터회와 언협, 서울 Y의 세 단체만이 활동하던 시기로 비판·감시를 목적으로 하고 자체 모니터 요원을 양성하기 위한 모니터 교육 위주로 운영되었다. 이시기는 주제 중심의 교육과정의 도입기로 대상매체는 텔레비전에 한정되었다. 제 2기는 교육대상매체가 영상매체로 확대되었고 어린이와 청소년 등 교육대상이 확대되었으나 교육내용이나 교육과정이 제 1기와 크게 달라지지는 않았다. 제 3기에는 미디어 교육이 단체의 활동 전면에 부각되어 교육대상이 다양해졌으며 실습 형식의 교육이 실시되었다. 또 개념중심교육과정이 도입되었으며 범위도 활용교육과 제작교육까지 확대되었다. 연대활동과 캠페인 등도 활발히 진행되었다. 제 4기는 급속한 미디어 환경의 변화에 따라 교육대상이 확대되었고 이에 따라 미디어 교육도 급속히 발전하였다. 매체중심교육과정과 개념중심미디어 교육과정이 활발해져 미디어 활용과 제작교육이 실시되었다. 교육대상이 확대, 세분화되고 피교육자가 보다 적극적으로 참여할 수 있는 형태의 프로그램이 개발되었다. 또 하나의 연구문제인 교육유형별 분석은 교육과정, 교육방식, 교육장, 교육기간, 교육행태, 대상매체, 교육대상별로 구분한 것이다. 교육과정별 분석 중 주제중심교육과정은 감시비판 운동을 위한 모니터 교육을 포함하며 매체중심교육과정은 텔레비전 바로보기, 영화 읽기, 광고 바로보기, 대중음악 읽기, 시청일기 쓰기 등의 미디어활용교육을 말한다. 개념중심교육과정은 미디어 제작교육중심으로 이루어지고 있다. 교육과정별 특징은 감시비판교육에 치중해왔고 충분한 활용교육과정을 거치지 않은 채 바로 제작과정으로 넘어갔다는 사실이다. 교육방식별 분석은 강의식교육과 실습식 교육으로 나누었는데 대부분의 어린이·청소년대상교육은 실습식이고 성인대상교육은 강의식이었다. 교육장별 분석은 불러들이는 교육과 이벤트 형식의 교육, 찾아나서는 교육으로 구분하였다. 불러들이는 교육은 성인 대상교육이었고 이벤트 형식의 교육은 어린이·청소년, 학교교사 대상의 캠프나 영화제형태였으며 찾아나서는 교육은 청소년, 학부모, 단체 등을 대상으로 하였다. 교육기간별 분석은 한달 10회를 기준으로 단기적인 교육과 장기적인 교육으로 나누었다. 단기교육은 모니터 교육과 여름방학을 이용한 학생들과 교사대상교육이 포함되었고 장기적인 교육은 청소년대상의 특활반 교육이 포함되었다. 교육행태별 분석은 정기적인 교육과 부정기적인 교육으로 분류하였다. 교육행태는 개별 교육프로그램에 따라 다양한 유형을 보였다. 대상매체별 분석은 방송, 신문, 영상, 광고, 만화, 뉴미디어가 교육대상에 포함되었고 시대의 흐름에 따라 점점 다양해지는 추세를 보였다. 그러나 아직도 대부분 방송에 편중되어있으며 영상에서도 활발한 편이다. 상대적으로 인쇄 미디어는 소홀히 취급되며 최근 들어 매체 환경변화에 따라 인터넷 대상교육도 도입되고 있다. 교육대상별 분석은 어린이, 청소년, 대학생, 학부모, 교사, 사회단체 미디어교사, 종교지도자, 노인, 비디오숍 경영자 등 다양하고 세분화된 대상구분을 하고 있다. 논문연구결과 우리나라의 미디어 교육은 사회 운동의 차원에서 수용자 의식화를 위한 한 방편으로 실시되어 왔기에 교육 측면보다는 사회운동 측면에서 접근해왔다. 이 과정에서 모 단체 소속 언론수용자운동 단체들은 활동에 비해 과대포장 되어있었고 순수언론수용자운동 단체의 미디어 교육 사례가 더 적극적이고 다양함을 알 수 있었다. 또 미디어의 활용을 통해 미디어와 친해지는 일이 우선임을 간과하고 감시비판 교육에서 바로 미디어 제작교육으로 건너뛰는 경향이 있었다. 미디어에 대한 기본적인 생각이 없는 상태에서 실시하는 제작교육은 기술 교육일 뿐이다. 최근 들어 정보와 통신이 통합되는 이 시점에 우리의 미디어 교육은 아직 뉴미디어 환경에 대처할 교육 커리큘럼을 제대로 갖추고 있지 못하다. This thesis focused on the characteristics of the media education program in Audience Awareness Movement Organizations. Five major organizations that have been offering media education were selected for analysis. The method of study includes reference research, direct interview, phone interview and observation, Media education can be historically divided into four stages. In the first stage (Formation: 1984-1986), the major purposes of media education were to criticize and supervise media and to train monitors. TV was the only media researched at this stage. In the second stage (Growth: 1987-1990), the type of media was extended to visual images including motion pictures and videos. The subject of education also extended to children and adolescents. In the third stage (Take-off: 1991-1995), media education became one of the major issues for audience awareness movement. The subject of education was extended to teachers and video shop owners. Conceptual Curriculum has been introduced at this stage, and application of media and production training had become parts of the media educational curriculum. The fourth stage (Development: 1996-2000 present) can be characterized as a rapid developmental stage. Media-centered curriculum and conceptual curriculum were widely used, and media program was developed to motivate audiences' participation. Media educational programs are analyzed by their curriculums, methods, places, periods, forms, types of media and educational subjects. Three types of curriculum include subject matter-centered curriculum, media-centered curriculum and conceptual curriculum. They focused on how to criticize media, and had some tendency to skip to production training without proper application exercises. Educational methods can be analyzed by lecturing and exercising. Lecture is for adults where as exercise is usually used to educate children. Educational places are Calling-in for adult, Rent for camping or film festival and Visiting for teenagers, parents, or organizations. Educational period can be varied from short-term to long-term. The forms of education can be regular or irregular depending on the individual program used. The types of media include TV, newspaper, visual images, commercial, animation and new media. TV and visual images are two major types that have been focused on. Internet is a rapidly growing media which recently gets a lot of attention. The subjects of education has been extended to children, adolescents, college students, parents, teachers, social organization members, religious leaders, the aged and video shop owners. In conclusion, media education has been focused on developing audience awareness on different types of media. Since it was approached from social movement level, it was ended to put less attention on educational approach. One of the important things in media education is for audience to be friendly with media through applications. It can merely be a technical training if the audience doesn't have philosophIcal background. New curriculum should be developed in near future to cover our new media environment.

現代美術을 통한 不安心理表現의 造形性 硏究 : 表現主義 繪畵 中心으로

문미원 大邱大學校 2007 국내박사

Our lives have become physically abundant due to major advancement in the field of science technology. However, great development as such has lead to psychological problems such as loss of humanity, generation of anxiety and sense of solitude. This research aims to analyze the formativeness of the expression of anxiety by studying the work of arts produced by artists who have received significant influence from the origin of psychological anxiety by focusing on such 'anxiety' that originated from our real world. First of all, this paper attempts to interpret the meaning of expression through textual excerpts in chapter 2. Furthermore, we will attempt to deduce the fact that artistic expression is the artist's way of realizing one's emotions and ultimately, an effective way to express the existence of one's ego. In chapter 3, formulation of anxiety and creation of art, we will examine the processes in which the sense of anxiety builds up due to the loss of a sense of values and social alienation. Chapter 3 will also attempt to interpret the sense of anxiety from three different aspects; existentialistic anxiety, Freud's theory of anxiety, and modern society. In addition, we will focus anxiety as the powerful motive behind the creation of art and attempt to find a link between the sense of anxiety and the creation of art. Chapter 4 analyzes the unique method of formativeness and the contents of artistic works of expressionism artists, who have sublimed their anxiety that have been generated from confrontation and conflict with the society in their lives. Chapter 5 will examine the similarity in the formativeness between 4 chosen works of arts by spontaneity, coincidence, intuition, repetition, reiteration, and transformation, which expresses the instable human anxieties such as uneasiness and pain. In addition, we will determine if the formative characteristics in the expression of human anxiety as such indeed serve as effective way to create work of arts and at the same time, nullify the sense of one's anxiety. Finally, we will examine the positive meanings of self-awareness that occurs as the artist realizes his or her will to express him or herself. The above research subjects can be summarized as follows. The term 'expression' in the world of art refers to the artist's action to express him or herself, which is self expression. As a result, artists share close ties with their reality and express themselves through painting as they grow their artistic motives. Modern society, the basis of our society has generated problems involving the loss of humanity, inactive life, emptiness, weariness, and the sense of anxiety. Alienation is yet another problem among modern people that give rise to the loss of self awareness, which generates anxiety. Especially Kierkegaard, a famous philosopher who has accurately discerned the anxiety among modern day people, has stated that anxiety coexists with every human being that has probability in every moment of their lives. Freud has analyzed such anxiety in terms of the human personality structure. He stated that conflicts arise when unconscious human desires are overly suppressed, which eventually becomes the cause of anxiety. As much as the anxiety plays major influence over the human behavior, it also provides powerful creative energy to the artists and allows them to bring out their causes of anxiety to their world of consciousness, thereby putting them in mentally freer situation. Thus, artists whose anxiety have played major role in their creation of art such as Gogh, Munch, Kirchner, and Nolde as well as artists such as Baselitz and Lperts who have expressed the sense of alienation and mental emptiness in the intersection of concrete and abstract concepts have successfully expressed their psychological reality through creative images. One can realize that anxiety is generated from the conflict that originates from one's unconscious desires. As such, unconsciousness has significant ties with the source of creation or spontaneity. Therefore, the symbolic values from deep down in one's unconscious world leads the artist to express him or herself spontaneously through painting. The reason as to why artists rely on the law of spontaneity when expressing their deep anxiety is because it allows them to portray their desires more freely in unconscious state. Creation of images such as spontaneity, coincidence, intuition, repetition, reiteration, and transformation occurs naturally when the artists attempt to shape their spontaneous anxiety. As such, anxiety is naturally relieved as the artists attempt to portray their desires freely in connection with spontaneity through their work of arts. During this process, the canvas acts as the psychological world for the artists to project their ego while the brush lines act as the artists' means to record their creative expressions. Paintings with strong-color finishes raise the importance of expressionism as they deliver the artists' emotions through colors. As such, the psychology behind anxiety drives artists to portray their mental image, which serves as the medium for the artists and the audiences to communicate. Anxiety that occur in the modern world analyzed in the current paper may lead to the loss of self-awareness, but self-awareness that occur from anxiety on the other hand may make our lives more manageable as a true subject of our lives. In addition, anxiety is not something that we should avoid; it is something that we should confront boldly and derive appropriate solutions to treat it as an opportunity for future accomplishment and creation.