<두 개의 문>에 드러난 “현실의 창조적 재구성”

• 영문명: “The Creative Treatment of Actuality” in Two Doors
• 발행기관: 한국영화학회
• 저자명: 이승민
• 간행물 정보: 『영화연구』제58호, 313~332쪽, 전체 20쪽
• 주제분류: 예술체육 > 예술일반
• 파일형태: PDF
• 발행일자: 2013.12.31

영문 초록

This article will deal with the changes that are brought about in Korean documentary films by the recent trend in Two Doors. This documentary film deviates away from the traditional documentary filming, which puts strong emphasis on realistic representations, but coincidentally, this new trend indicates that the boundary of documentary filming is expanding. First, the presence of a director, who used to only exist outside the screen, breaks the boundary between a finished film and the actual process of production. Consequently, the narration of the subject and the narration of the director are both transcribed into the documentary. The point of note here is that documentary film making should no longer be understood as just capturing the subject but one should also keep in mind the intention and the vantage point of the director. Second, the appearance of the director in the film allows the director and the subject of the documentary to be on equal terms and hence it opens new possibilities in directing through interactions and interventions. Furthermore, director’s presence in the film not only creates a relationship with the subject but as oneself, director could try to influence the viewers of the documentary directly. Documentaries are no longer about directors telling a story by only capturing a subject but instead now directors try to convey and communicate with the viewers by capturing the subject with intentions and opinions of the director heavily incorporated into the film. This can be seen even in the timeline of the documentary. By deliberately synchronizing the real time of the viewers with that of the director himself, the documentary is viewed as events in the past that ends closer to the present time. The appearance of a director within a documentary film is more than just a new form of storytelling or a filming technique;in fact it can be viewed as pushing the boundaries of documentary filming by affecting the relationship between the director, subject and the viewers in a completely new way.

목차

1. 들어가며

2. ‘기억’의 창조적 재구성

2. 감성을 향한 ‘감성’적 진실

4. ‘번역자’로서 감독의 위치와 역할

5. 나가며

키워드

Korean documentary film. Two Doors the creative treatment of actuality memory. translator as filmmaker