정치와 미학, 그 접점의 한 양식화로서의 다큐멘터리: 레니 리펜슈탈의 작품을 중심으로

계운경 문학과영상학회 2008 문학과영상 Vol.9 No.3

Documentary film director Leni Riefenstahl has earned critical renown for outstanding aesthetic accomplishment. She is, however, also synonymous with Nazism in documentary history—a label she cannot be disassociated from. The established study on her films has so far revolved around either aesthetic or political discussions. This study carefully avoids the dichotomous argument, analyzing Triumph of the Will (1934) and Olympia (1938) through the observation of how society, culture, and politics are related to the works’ aesthetic. The majestic effects were achieved through the filming and editing style made possible with Hitler’s financial support. She was able to use a large number of cameras to achieve the aesthetics she sought. The paper asserts that it is Riefenstahl’s use of these aesthetic devices to depict the Nazi Party Convention and the Olympics that should be construed as political. It also examines the relationship between Riefenstahl’s aesthetics and politics, which is often overlooked in the studies that separate the two. Documentary film director Leni Riefenstahl has earned critical renown for outstanding aesthetic accomplishment. She is, however, also synonymous with Nazism in documentary history—a label she cannot be disassociated from. The established study on her films has so far revolved around either aesthetic or political discussions. This study carefully avoids the dichotomous argument, analyzing Triumph of the Will (1934) and Olympia (1938) through the observation of how society, culture, and politics are related to the works’ aesthetic. The majestic effects were achieved through the filming and editing style made possible with Hitler’s financial support. She was able to use a large number of cameras to achieve the aesthetics she sought. The paper asserts that it is Riefenstahl’s use of these aesthetic devices to depict the Nazi Party Convention and the Olympics that should be construed as political. It also examines the relationship between Riefenstahl’s aesthetics and politics, which is often overlooked in the studies that separate the two.

공론장으로서의 다큐멘터리와 그 구조변동으로서 인터랙티브 다큐멘터리

계운경 부산대학교 영화연구소 2019 아시아영화연구 Vol.12 No.1

이 논문은 공론장으로서의 다큐멘터리에서 인터랙티브 다큐멘터리에 이르는 전개양상을 살펴보고, 그 과정에서 나타나는 특징과 기능에 대해 논의한다. 논의는 여섯 단계로 나눈다. 첫째, 하버마스의 공론장과 대중미디어로의 전화, 둘째, 대중과 공중 사이의 영화관객, 셋째, 공론장으로서 다큐멘터리의 계보, 넷째, 정체성의 정치학과 사적 다큐멘터리, 다섯째, 인터넷 공론장, 여섯째, 공론장의 구조변동으로서 인터랙티브 다큐멘터리다. 다큐멘터리를 공론장과 연결시키고자 하는 것은, 다큐멘터리가 공적영역의 문제를 제시하여 관객의 참여를 독려함으로써 정치·사회적 변화를 이끌어내고자 하는 공론장의 목표에 부합하기 때문이다. 다큐멘터리에 이어 인터랙티브 다큐멘터리는 21세기 디지털 테크놀로지 시대의 정치적 행위가 수행되는 공적영역으로서 공론장의 역할을 계승한다. 지금까지 발표되고 있는 인터랙티브 다큐멘터리를 보더라도 오락성이나 미학성보다는 공공재로서 기능이 강화되어있다. 이것은 공론장으로서 다큐멘터리의 연장선상에 인터랙티브 다큐멘터리가 위치한다는 것을 의미하는 것이다.

인터랙티브 영화의 공간 -가상공간, 사이버스페이스, 재매개 공간-

계운경 한양대학교 현대영화연구소 2019 현대영화연구 Vol.15 No.2

영화와 디지털 테크놀로지의 결합은 컴퓨터와 모바일 기반의 SNS(Social Network Services), 웹사이트(website), 유튜브(youtube), 애플리케이션(application) 등과 가상현실(virtual reality)에 이르기까지 다양한 형태의 플랫폼(platform)을 가능하게 했다. 이러한 변화과정에서 영화의 논의가 아날로그 영화, 디지털 영화, 인터랙티브 영화로 옮겨가고, 텍스트 중심에서 뉴미디어 중심의 연구로 확대된다. 뤼미에르(Lumière) 형제의 <열차의 도착 L’Arrivée D’un Train à La Ciotat>(1895) 이래로 영화는 테크놀로지의 발전에 민감하게 반응하며 변화해왔으며, 그 과정에서 등장한 것이 인터랙티브 영화다. 인터랙티브 영화는 디지털 테크놀로지를 기반으로 인터페이스와 관객 사이의 신체적 인터랙션을 통해 완성된다는 점에서 기존의 영화와 구별된다. 인터랙티브 영화를 규명하고자 하는 연구는 주로 ‘인터랙티비티’, ‘인터랙티브 내러티브’, ‘수용자’, ‘디지털 테크놀로지’를 중심으로 논의되어 오고 있다. 하지만 이러한 논의는 서로 중첩되고 교차되며 모든 것을 아우르는 광범위한 범위다. 이 논문에서는 범위를 좁혀 인터랙티브 영화 <블랙 미러: 밴더스내치>와 <프리즌 벨리>를 중심으로 공간에 초점을 맞추고, ‘가상공간’, ‘사이버스페이스’, ‘재매개 공간’으로 나누어 각각의 공간이 함축한 의미를 살펴본다. The combination of film and digital technology has made it possible to be a variety of platforms, based on personal computer and mobile, ranging from websites, youtube, social network services, and applications to virtual reality and so on. In the course of these changes, the discussion of film is shifted from analog film to digital film and interactive film, extended from a text centered to a new media perspective. Since L’Arrivée D’un Train à La Ciotat of Lumière brothers, films have changed sensitively in response to the development of technology, and the interactive film have emerged in the process. The interactive film based on digital technology requires different paradigm from existing film in all areas including aesthetics, narrative, space as well as production, distribution, audience. This paper focuses on the spaces such as virtual space, cyberspace, and remmediation space and that are embodied in the interactive film and discusses the characteristics that appear in those spaces through Black Mirror: Bandersnatch and Prison Valley.

<달팽이의 별>의 극미학적 장치를 통한 자기반영적 효과

계운경 문학과영상학회 2014 문학과영상 Vol.15 No.4

This study aims to analyze the effect of self-reflexivity in Planet of Snail. While self-reflexivity typically characterizes fiction film, with the identical effect of self-reflexivity, a reflexive mode is presented in documentary. Planet of Snail, however, reveals self-reflexivity even though it is classified as a documentary. Planet of Snail shows a ‘narrative of relationship’ between Young-Chan, a deaf-blind person, and Soon-Ho, a disabled person with kyphosis. Unlike traditional documentary about the disabled, which usually focus on their suffering, success, and rights, this is a personal documentary which highlights the routine life of a disabled individual. In the documentary, self-reflexivity reveals itself through the expression of Young-Chan’s mind which moves the audience from the story to reality. This paper examines Young-Chan's poetry, room tone, sound effect, music and shooting techniques for closed form one by one as the effect of self-reflexivity with its dramatic devices is presented by Planet of Snail.

<파수꾼>과 <말죽거리 잔혹사>의 학교공간과 상징폭력의 재생산

계운경 문학과영상학회 2012 문학과영상 Vol.13 No.2

This study is based on the mechanism of symbolic violence and its effect which operates within the school and applied to the films Spirit of Jeet Keun Do (2004) and Bleak Night (2011) set in highschool. It reveals the problems of education system which can be endlessly be reproduced and at the same time helps us to grasp what impact does school education system have on students’ behavior and the inner side. It also enables us to approach to the sociological text based on the relationship between school system and reproduction. Through Spirit of Jeet Keun Do which sets in the 1970’s and Bleak Night which describes the background of present highschool students grown up with their parents who were once the generation of main characters in Spirit of Jeet Keun Do, this acquires meaning to keep public order and reveal phenomenon of reproduction by conspiracy. The high school was used as the setting of both films and they depict conflicts that occur in their relationship through students’ everyday life. Although these films are identical in that they are telling us the aspects of violence and conflicts between students that occur at school, they are different as to the way they represent them. Spirit of Jeet Keun Do reveals a critical mind regarding physical violence, which had originally been accepted under the military regime in 1970’s to develop the people. Besides, It focuses on the fact that physical violence has been reappearing in school. On the other hand, Bleak Night, although highschool was used as setting, puts more importance on human relationships and psychology rather than the aspects of school system and education. Though Bleak Night deals with emotional problems related to human relationships, it’s not irrelevant to the contemporary culture and educational system at all in that they set a background of the movie in school, main characters are all hight school students where conflicts are being handled. High school students including Hyun-Soo and his peers who went to school in 1970’s, the period of setting in Spirit of Jeet Keun Do, are now in their late 40’s and early 50’s. Hyun-Soo who was 19 years old in 1978 might have become early 50’s by now. If he got married in early thirties and had a baby, the son of Hyun-Soo would be of same age with Ki-Tae who is a hero of Bleak Night which describes contemporaries in 2010. It has passed more than three decades. How is the school where Ki-Tae belongs to different from the school in Spirit of Jeet Keun Do? If we look on the surface of the movies and compare them, 1970’s Spirit of Jeet Keun Do is much more violent However, even if violence was invisible it doesn’t mean that the violence had disappeared or the situation had become any better. Bleak Night does not bring violence in school to the fore. Though it is not externally revealed, it doesn’t mean that it is not existing. Pierre Bourdieu explains this phenomenon as symbolic violence. According to his remark, school is where the symbolic violence works most dynamically. The symbolic violence, which is the most subtle and the most invisible, not only makes subjugated class not aware of it but also makes themselves conspire to the violence, thereby maintaining the school system. That is possible because the symbolic violence is internalized to the subjugated class. This study is based on the mechanism of symbolic violence and its effect which operates within the school and applied to the films Spirit of Jeet Keun Do (2004) and Bleak Night (2011) set in highschool. It reveals the problems of education system which can be endlessly be reproduced and at the same time helps us to grasp what impact does school education system have on students’ behavior and the inner side. It also enables us to approach to the sociological text based on the relationship between school system and reproduction. Through Spirit of Jeet Keun Do which sets in the 1970’s and Bleak Night which describes the background of present highschool students grown up with their parents who were once the generation of main characters in Spirit of Jeet Keun Do, this acquires meaning to keep public order and reveal phenomenon of reproduction by conspiracy. The high school was used as the setting of both films and they depict conflicts that occur in their relationship through students’ everyday life. Although these films are identical in that they are telling us the aspects of violence and conflicts between students that occur at school, they are different as to the way they represent them. Spirit of Jeet Keun Do reveals a critical mind regarding physical violence, which had originally been accepted under the military regime in 1970’s to develop the people. Besides, It focuses on the fact that physical violence has been reappearing in school. On the other hand, Bleak Night, although highschool was used as setting, puts more importance on human relationships and psychology rather than the aspects of school system and education. Though Bleak Night deals with emotional problems related to human relationships, it’s not irrelevant to the contemporary culture and educational system at all in that they set a background of the movie in school, main characters are all hight school students where conflicts are being handled. High school students including Hyun-Soo and his peers who went to school in 1970’s, the period of setting in Spirit of Jeet Keun Do, are now in their late 40’s and early 50’s. Hyun-Soo who was 19 years old in 1978 might have become early 50’s by now. If he got married in early thirties and had a baby, the son of Hyun-Soo would be of same age with Ki-Tae who is a hero of Bleak Night which describes contemporaries in 2010. It has passed more than three decades. How is the school where Ki-Tae belongs to different from the school in Spirit of Jeet Keun Do? If we look on the surface of the movies and compare them, 1970’s Spirit of Jeet Keun Do is much more violent However, even if violence was invisible it doesn’t mean that the violence had disappeared or the situation had become any better. Bleak Night does not bring violence in school to the fore. Though it is not externally revealed, it doesn’t mean that it is not existing. Pierre Bourdieu explains this phenomenon as symbolic violence. According to his remark, school is where the symbolic violence works most dynamically. The symbolic violence, which is the most subtle and the most invisible, not only makes subjugated class not aware of it but also makes themselves conspire to the violence, thereby maintaining the school system. That is possible because the symbolic violence is internalized to the subjugated class.

다큐멘터리의 극미학적 효과와 대중성 —<북극의 나누크>와 <워낭소리>를 중심으로

계운경 문학과영상학회 2010 문학과영상 Vol.11 No.1

Dramatic depiction in documentaries often incites concerns regarding its possible failure to vouch for the authenticity of the subject or the chance that it might obscure the truth. This owes to the characteristic of documentaries as a genre that depicts “real subjects” based on “reality.” An important factor that sustains the life of the genre is the audience's belief that the film they are watching is “reality.” As a customary understanding of the documentary genre, this definition is also closely related to the fundamental question of “what is a documentary.” Whether it is related to the subject itself or the trust between the film and the audience, concerns over the authenticity of the depiction lie in the characteristic of the genre that is based on “reality” seen through the subjective involvement of a director. Another need to understand the problem of dramatic depiction in documentaries is the fact that dramatic depiction has been a central issue in the discussion on the genre since its birth. It is then necessary to explore why dramatic depiction has had such a close relationship with the documentary genre. To find out what influence dramatic depiction wields over the aesthetics of a documentary film, one must first determine the role of dramatic depiction in the film. This article examines the effects of dramatic depiction in Old Partner and Nanook of the North to find an angle of analysis. Old Partner resembles Nanook of the North, the first documentary film, in several ways including the romanticizations of the subject and its use of dramatic depiction as the driving force of the piece. The two films show that the issue of dramatic depiction is a timeless one in the discourse on documentary films, and also that dramatic depiction serves as a foundation for aesthetic achievement in the genre. The significance of dramatic depiction is highlighted in this article. This article examines the function of dramatic depiction rather than the paradoxical nature of documentary films as a “dramatic depiction” of “reality.” Dramatic depiction in documentaries often incites concerns regarding its possible failure to vouch for the authenticity of the subject or the chance that it might obscure the truth. This owes to the characteristic of documentaries as a genre that depicts “real subjects” based on “reality.” An important factor that sustains the life of the genre is the audience's belief that the film they are watching is “reality.” As a customary understanding of the documentary genre, this definition is also closely related to the fundamental question of “what is a documentary.” Whether it is related to the subject itself or the trust between the film and the audience, concerns over the authenticity of the depiction lie in the characteristic of the genre that is based on “reality” seen through the subjective involvement of a director. Another need to understand the problem of dramatic depiction in documentaries is the fact that dramatic depiction has been a central issue in the discussion on the genre since its birth. It is then necessary to explore why dramatic depiction has had such a close relationship with the documentary genre. To find out what influence dramatic depiction wields over the aesthetics of a documentary film, one must first determine the role of dramatic depiction in the film. This article examines the effects of dramatic depiction in Old Partner and Nanook of the North to find an angle of analysis. Old Partner resembles Nanook of the North, the first documentary film, in several ways including the romanticizations of the subject and its use of dramatic depiction as the driving force of the piece. The two films show that the issue of dramatic depiction is a timeless one in the discourse on documentary films, and also that dramatic depiction serves as a foundation for aesthetic achievement in the genre. The significance of dramatic depiction is highlighted in this article. This article examines the function of dramatic depiction rather than the paradoxical nature of documentary films as a “dramatic depiction” of “reality.”

학생 인권문제와 상징폭력: <말죽거리 잔혹사>에 대한 학생들의 비평문을 중심으로

계운경 문학과영상학회 2011 문학과영상 Vol.12 No.2

Students’ Rights and Symbolic Violence in Their Comments on Spirit of Jeet Keun Do This study examines the status quo of education in Korea and its symbolic violence by analyzing students’ film comments on Spirit of Jeet Keun Do. This film shows the 1970’s school violence in Korea which has continued until now. 278 college students who attended high school in the late 2000’s wrote the film comments which were based on their own experiences. The comments reflect the range of their awareness of students’ rights. The students’ responses can be divided into three types. 140 out of 287 students felt that the present students’ rights situation is “the same” as that of the 1970’s. 78 out of 278 students thought the current status of students’ rights is “better” than that of the past. 56 out of 278 students thought this is the time when teachers’ rights should be protected. Different opinions between male and female students became apparent. 85 female students replied “the same” and 62 female students replied “better.” However, 56 male students replied “the same” and 69 male students replied “better.”The result raises two questions: the first is about why students have different experiences in spite of their living in the same time and place; and the second is the different opinions between boys and girls. In general, it is considered that female students are less exposed to violence than males. However, more female students stated that school violence is a serious problem in society. Based on these results, the students’ film comments were analyzed on the basis of The Bourdieu theory of “symbolic violence”, “champ”, and “habitus.” In conclusion, this study pays much attention to the invisible and gentle violence legitimation by school system, suppressing students’ rights in Korea. Even at present, organized school violence which continues from 1970’s is not an individual problem.

[영화읽기] 영화, 그리고 ‘여성의 욕망’

계운경 부산여성가족개발원 2006 여성우리 Vol.- No.31

학생 인권문제와 상징폭력: <말죽거리 잔혹사>에 대한 학생들의 비평문을 중심으로

계운경 문학과영상학회/문학과영상학회 2011 문학과영상 Vol.12 No.2

[좌담회 : ‘지역 여성문화 현주소’] 여성이 함께 하는 문화의 바다를 꿈꾼다

계운경(토론자),박태남(토론자),이현주(토론자),조은아(토론자),하정화(사회자),최형화(편집자) 부산여성가족개발원 2007 여성우리 Vol.- No.38