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논문 기본 정보

자료유형
학술저널
저자정보
저널정보
전남대학교 5.18연구소 민주주의와 인권 민주주의와 인권 제3권 2호
발행연도
2003.10
수록면
105 - 146 (42page)

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초록· 키워드

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Among the various cultural fields around May Movements which played the important role in Korean democratization processes, May documentary films are worthy of paying attention. May documentary films took the role of drawmg energies of democratization movements, on one hand, by recalling the memories of Gwangju Uprising, and on the other hand, by revealing today still remained traumas resulted from the state violence of the past.
The history of May documentary films can be divided into following six different phases films as evidences(1980-1987); films for problematization (1988-1990); entangling of showing Gwangju(1990-1995); films for finding out meanings(1996-1997), pursuit of official texts(1998-2000); and searching new directions for representations. In the first place, May documentary films were largely influenced by outer atmospheres, especially by the political opportunities of each phase. Secondly, they were determined by the conditions of the subjects.
But those influences affected to the subjects of productions have been varied significantly. The reactions of television broadcasting companies, dominant producers of most documentary films, not only have been very sensitive to the change of political atmospheres, but also exposed to the contexts of invisible competitions wth their rivals within the local contexts. The other subjects can be considered as alternative independent film-making groups, whose orientations were mainly focused on democratization movements. They had strong and rigid recognition about the positiveness of films as evidences before 1987 phase. Lately in 1980s, they motivated by the issues concerning US. responsibility for Gwangju Uprising. Since late in 1990s, they have tried to show "something consistent" in representations which have differed from the institutional measures for the visual representations of memories concerning Gwangju May Uprising.

목차

Ⅰ.들어가며

Ⅱ. 5월 다큐멘터리 전개

Ⅲ. 맺음말

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