중국 전통문화 UGC의 수용과 세계화에 대한연구: 수금체와 리즈치 동영상 UGC 사례연구를 중심으로

국문 초록 (Abstract)

전통문화에 관한 정보와 메시지를 전달하는 방식이 뉴미디어 기술 발전과 함께 빠르게 변화하고 있다. 모바일 환경에 적합한 짧은 동영상(숏폼)이 등장하며 미디어 콘텐츠 형식과 내용 면에서 다양성이 증가하고, 그에 대한 수용자들의 인식과 태도가 달라지고 있다. 동시에 이용자가 직접 전통문화에 대한 콘텐츠를 창작하고 공유하는 참여문화(Jenkins, 2008) 현상이 나타나면서 중국 전통문화 콘텐츠의 생산자 집단과 유통 채널도 다변화되며, 이른바 이용자창작콘텐츠(UGC)를 중심으로 한 수익 모델은 다양한 웹사이트와 플랫폼에서 주목받고 있다. 일상에서 사용하는 스마트 기기로도 전문가급의 고화질 영상 창작을 하는 것이 가능해지고, 소셜미디어를 통해 자아 표현의 기회가 늘어나면서 일반인과 아마추어 창작자들이 중국 전통문화 창작에 참여하고 있다. 본 연구의 대상인 수금체 및 전통 음식과 같은 중국 고유의 문화를 다루는 이용자창작콘텐츠 영상의 경우, 이러한 문화적 정보와 메시지를 포함하면서도 창작자와 이용자 간 친밀성을 추구하는 사적인 커뮤니케이션의 매개체로서 각광받으며, 생산 전반의 전문화와 고품질화, 장르와 형식 면에서의 다변화가 이뤄지고 있어 그 수용 현상에 대한 학술적 관심이 증대되어왔다. 하지만 미디어문화연구를 통해 아직 중국의 전통문화와 같은 비서구권 문화가 소셜미디어 플랫폼을 통해 초국적 범위에서 수용되는 현상에 대한 연구는 미미하게 이뤄져 왔다. 이에 본 연구는 이용자창작콘텐츠 영상을 통해 중국의 아마추어와 일반인 창작자들이 중국 전통문화의 가치를 (재)생산하며, 그 사회문화적 의미를 새롭게 구성하는 문제를 수금체 및 리즈치의 영상 콘텐츠에 대한 사례연구를 통해 논의하고자 했다. 이러한 전통문화 콘텐츠가 지역적, 국가적 한계를 넘어 다양한 지역의 플랫폼 이용자들에 의해 수용되면서, 중국 전통문화의 물리적 수용 범위가 확대될 분 아니라 그 전통문화에 대한 해석과 평가가 보다 다양한 맥락에서 이뤄지는 문제를 심층적으로 논의하고자 했다. 문화연구의 수용자연구를 중심으로 이용자창작콘텐츠에 대한 텍스트 분석과 함께 그에 대한 수용자 인식 및 태도를 참여관찰과 수용자 연구를 통해 심층적으로 파악하고자 했다. 이번 연구는 이용자창작콘텐츠 생산과 수용을 통한 중국 전통문화의 세계화 사례를 다루며, 그 미디어가 지닌 경제적 효과뿐 아니라 문화적, 질적 의미까지 탐색했다는 점에서 의의를 갖는다.
키워드: 중국 전통문화, UGC, 수용자 능동성, 숏폼, 수용자 연구

목차 (Table of Contents)

• 국문요지 ·························································································································ⅴ
• 제1장 서론 ·······················································································································1
• 제1절 연구배경 및 목적 ··························································································1
• 제2절 논문의 구성 ································································································8
• 제2장 이론적 틀 ··········································································································10
• 제1절 미디어학의 수용자 연구에 대한 전통적 접근 ···································10
• 1. 문화연구 수용자 이론 모델: 스튜어트 홀의 ‘부호화/해독’ ·················· 10
• 2.‘능동적 수용자’에 대한 이론적 접근 ··························································15
• 제2절 중국 전통문화를 다룬 이용자 창작 콘텐츠 사례연구 ···················18
• 1. 연구대상으로서 수금체와 선행연구 ·····························································18
• 2. 리즈치 영상 선행연구 ·····················································································22
• 제3장 연구문제 및 연구방법 ···················································································25
• 제1절 연구문제 ······································································································25
• 제2절 연구방법 ······································································································28
• 1. UGC 수용자 연구방법: 사례연구와 텍스트분석, 참여관찰의 삼각검증
• (triangulation) ········································································································28
• 2. 연구대상 및 표집 절차 ·················································································31
• 제4장 중국 전통문화 UGC 수용 사례 분석 ·······················································34
• 제1절 중국 전통문화 수금체의 주요 재현 양상 ··········································34
• 제2절 중국 전통문화의 대한 부호화/해독과 연구결과 ·······························38
• 1. 수금체 제작자에 의해 ‘선호된 의미들’ ·······················································38
• 2. 수금체에 대한 댓글 분석 결과 ·····································································43
• 제3절 중국 전통문화 콘텐츠 생산과 수용의 플랫품화와 세계화 ············ 49
• 1. 리즈치에 의해 ‘선호된 중국 전통문화의 의미들’ ·····································49
• 2. 리즈치 UGC를 통한 중국 전통문화 세계화 ··············································53
• 제5장 결론 ····················································································································79
• 제1절 연구 결과 ······································································································79
• 제2절 연구 한계점 및 제언 ·················································································82
• 참고문헌 ·························································································································84
• 링크자료 ·························································································································93
• ABSTRACT ················································································································95