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초록· 키워드
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Animated documentary which lies on the border between fiction and non-fiction, and also between animation and documentary, is not a new genre developed recently. However after Waltz with Bashir, the discussion and interest on the animated documentary has spread. The reason is because this new combination is a kind of challenge to the discussion on traditional documentary. The concept of animated documentary stretches the subject of documentary to a non-visible domain. The recent arguments give attention to the possibility of documentary expression with animation image. This animation image is considered to overcome or dismantle photographic referentiality, in the process of acceptance of animation into documentary. This study premises that the truth in a documentary exists in the audience’s gaze when a documentary contains any truth intended by the producer, in spite of that any kind of distortion is unavoidable where the reality in documentary has to be selected and reconstructed.
Nichols insists that it is a mode of documentary which changes, not the documentary’s ultimate characteristics by saying “What changes is the mode of representation, not the quality or ultimate status of the representation.”There is still an existing limit where the reconstruction has to be based on the ‘fact’ to have its value as realistic evidence or records in the context of documentary although the idea of using animation technique during the reconstruction in a documentary is widely accepted.
This study points out the limits of current discussions on the definition of animated documentary and brings up an argument on how animation becomes a documentary in different aspects. The study also reviews the current discussion in terms of the intention of a producer who chose the animation as a documentary tool and interpretation of the audience, whereas the current discussion is rather focused on text-animation itself at this time when animation was accepted as a new documentary tool.
Nichols insists that it is a mode of documentary which changes, not the documentary’s ultimate characteristics by saying “What changes is the mode of representation, not the quality or ultimate status of the representation.”There is still an existing limit where the reconstruction has to be based on the ‘fact’ to have its value as realistic evidence or records in the context of documentary although the idea of using animation technique during the reconstruction in a documentary is widely accepted.
This study points out the limits of current discussions on the definition of animated documentary and brings up an argument on how animation becomes a documentary in different aspects. The study also reviews the current discussion in terms of the intention of a producer who chose the animation as a documentary tool and interpretation of the audience, whereas the current discussion is rather focused on text-animation itself at this time when animation was accepted as a new documentary tool.
목차
1. 서론
2. 애니메이션 vs. 애니메이티드 다큐멘터리 vs. 다큐멘터리
３. 애니메이션은 어떻게 다큐멘터리가 되는가?
４. <바시르와 왈츠를> vs. <페르세폴리스>
5. 나오는 글
참고문헌
Abstract
참고문헌 (33)
참고문헌 신청
1. [학술지(정기간행물)] - 강지원 / 2011 / 애니메이티드 다큐멘터리에 재현된 리얼리티 : <바시르와 왈츠를>을 중심으로 / 애니메이션연구 7 (3) : 7 ~ 24
2. [학술지(정기간행물)] - 강태호 / 2008 / 다큐멘터리에 있어서 주관성과 신빙성 / 독일언어문학 (39) : 265 ~ 285
3. [학위논문] - 김아름 / 2010 / 다큐멘터리 연출방식을 활용한 애니메이션의 특성 연구 : 작품 <바시르와 왈츠를>을 중심으로 / 석사 / 홍익대학교 영상대학원
4. [학술지(정기간행물)] - 남완석 / 2004 / 영화와 환상성:중세적 모티브의 영화적 변용에 대한 고찰 / 중세르네상스영문학 12 (1) : 257 ~ 274
7. [학술지(정기간행물)] - 박진 / 2010 / 디지털 시대 다큐멘터리의 자기반영성과 윤리적 진실 —애니메이션 다큐멘터리 <바시르와 왈츠를>을 중심으로 / 문학과 영상 11 (1) : 33 ~ 50
2. [학술지(정기간행물)] - 강태호 / 2008 / 다큐멘터리에 있어서 주관성과 신빙성 / 독일언어문학 (39) : 265 ~ 285
3. [학위논문] - 김아름 / 2010 / 다큐멘터리 연출방식을 활용한 애니메이션의 특성 연구 : 작품 <바시르와 왈츠를>을 중심으로 / 석사 / 홍익대학교 영상대학원
4. [학술지(정기간행물)] - 남완석 / 2004 / 영화와 환상성:중세적 모티브의 영화적 변용에 대한 고찰 / 중세르네상스영문학 12 (1) : 257 ~ 274
7. [학술지(정기간행물)] - 박진 / 2010 / 디지털 시대 다큐멘터리의 자기반영성과 윤리적 진실 —애니메이션 다큐멘터리 <바시르와 왈츠를>을 중심으로 / 문학과 영상 11 (1) : 33 ~ 50
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UCI(KEPA) : I410-ECN-0101-2015-688-000998122