왜 다큐멘터리인가

• 영문명: Why Documentary?
• 발행기관: 한국영화학회
• 저자명: 문원립
• 간행물 정보: 『영화연구』제62호, 109~132쪽, 전체 24쪽
• 주제분류: 예술체육 > 예술일반
• 파일형태: PDF
• 발행일자: 2014.12.31

영문 초록

This article is a follow-up of one of the author’s recent articles, whichwas titled “What is Documentary” and where the author tried to find criteriafor documentary. Lately that article seemed to the author to be lacking intwo broad respects. One is that it did not discuss the documentary viewers’subjective experiences. The other is that it almost ignored the post-modernistskepticism about documentary. This paper tries to address the deficiencies. On the subjective experience side, the author explains and emphasizesthe documentary realism. The realism is based on the familiar photographicrealism, but it also requires the viewer’s belief that the pro-filmic scene is/wasnot staged. The author argues that this realism is what makes documentariesattractive to us, as much as the information we get from them is. The experienceis akin to viewing the past world via a hypothetical time-machine. On the skeptics side, the author tries to argue against the view that thefact of being photographic records does not confer documentaries some specialstatus. The author thinks documentaries are special because it seems impossibleto make (without fictional narration or dubbing) a fiction film from shotsof unstaged scenes. “Shooting without staging” seems to be just a descriptionof 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) doesnot dictate the type of product. In documentary films, the processoverwhelmingly favors a nonfiction.

목차

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

키워드

documentary photographic realism unstaged transparency