지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
This paper is about actual film audiences. As we know, the audience is an essential part of the film. There is no film which makes not to be shown to audiences. But in the historical approaches of film, audiencs, as a key concept, remains problematic as we can never really know. The semiotic and phychoanalytic screen theory represented a particular development of the spectatorship in accordance with its text-centered convention. In screen theory, there can be no struggle at the site of the interface between subject(audience) and text(film), From a film business perspective, audiences need to be measured. They are treated just as a target for the film marketing business. So far, film audiences are considered as passive, absent-minded people. Therefore, the status of the film audience is low. But the contemporary phenomenon of convergence transform the audience relationship with the film. The media industries are undergoing another paradigm shift. New media was going to push aside old media. For instance, the Internet was going to change the network environment, and this would enable consumers to more easily access media content that was personally meaningful to them.
Walter Benjamin argued that the ability to mass-produce and mass-circulate images would have a profoundly democratic impact. He also argued that a new form of popular expertise would emerge. Today we would perceive that is expectation comes true.
In the case of 〈Old Partner〉, I could find audiences’ participation via the Internet, and it has the power of making a syndrome. 〈Old Partner〉 which is the independent documentary film has surprisingly become a big hit. Without the audiences’ active participation via the Internet, 〈Old Partner〉 could not be that kind of issues in 2009. The political effects of these audiences’ activeness come out only through the critical reading of films but also through access to collaboration and participation.
Audiences will be getting more powerful in the age of the Internet. Now we should reconsider the status of film audience.
Walter Benjamin argued that the ability to mass-produce and mass-circulate images would have a profoundly democratic impact. He also argued that a new form of popular expertise would emerge. Today we would perceive that is expectation comes true.
In the case of 〈Old Partner〉, I could find audiences’ participation via the Internet, and it has the power of making a syndrome. 〈Old Partner〉 which is the independent documentary film has surprisingly become a big hit. Without the audiences’ active participation via the Internet, 〈Old Partner〉 could not be that kind of issues in 2009. The political effects of these audiences’ activeness come out only through the critical reading of films but also through access to collaboration and participation.
Audiences will be getting more powerful in the age of the Internet. Now we should reconsider the status of film audience.
목차
1. 서론
2. 기존의 관객 연구 : 수동적 관객
3. 발터 벤야민의 지각 개념과 영화 정치화 테제
4. 〈워낭소리〉의 사례분석
5. 결론
참고문헌
Abstract
참고문헌 (2)
참고문헌 신청
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2013-600-003578673