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초록· 키워드
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Although Korean films have grown greatly in stature, the diversity and identity of films remain insufficient. At the present time, there is a formation of a standardized viewing culture that prefers films with heavy commercial viability centered on multiplexes in the Korean film industry. In the long run, such characteristic of Korean films restrict the amount of choices for films and the rights to view various films to which the audiences are entitled. Ultimately, this result will become an obstacle in the Korean film industry that will hinder the creation of various films and films of excellence.
In order for Korean films to improve, the qualitative developments must be achieved with Korea’s own unique film aesthetics through art film discourse of the present, rather than unequal distribution of films. Hence, the place of discourse for more diverse art films must be created and through this, the diversity and artistic value of films must be secured.
Thus, the present argument examines the flow of how ‘art films’ are used in Korea and examines the forefront of discourse on ‘art films’ that is being achieved socially and culturally through film festivals, art film policies, art film theatres and audiences at the present time. Through this process, it was found that those free from the existing film grammar, experimental or creative works, films with outstanding aesthetic value and films with cultural diversity and values in both artistic and social and cultural perspectives are commonly used as art films. The objective is to discuss the flow of direction in art films and what sort of advancements must be made to secure the diversity and artistic values of Korean films in the future.
In order for Korean films to improve, the qualitative developments must be achieved with Korea’s own unique film aesthetics through art film discourse of the present, rather than unequal distribution of films. Hence, the place of discourse for more diverse art films must be created and through this, the diversity and artistic value of films must be secured.
Thus, the present argument examines the flow of how ‘art films’ are used in Korea and examines the forefront of discourse on ‘art films’ that is being achieved socially and culturally through film festivals, art film policies, art film theatres and audiences at the present time. Through this process, it was found that those free from the existing film grammar, experimental or creative works, films with outstanding aesthetic value and films with cultural diversity and values in both artistic and social and cultural perspectives are commonly used as art films. The objective is to discuss the flow of direction in art films and what sort of advancements must be made to secure the diversity and artistic values of Korean films in the future.
목차
1. 서론
2. 한국에서의 예술영화담론의 흐름
3. 현재 예술영화담론의 최전선
4. 맺음말
참고문헌
Abstract
참고문헌 (23)
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UCI(KEPA) : I410-ECN-0101-2014-688-002349578