2010•문학과영상Requires access
다큐멘터리의 극미학적 효과와 대중성
계운경
Open publisher page 0 citations
Abstract
Dramatic depiction in documentaries often incites concerns regarding its possible failure to vouch for the authenticity of the subject or the chance that it might obscure the truth. This owes to the characteristic of documentaries as a genre that depicts “real subjects” based on “reality.” An important factor that sustains the life of the genre is the audience's belief that the film they are watching is “reality.” As a customary understanding of the documentary genre, this definition is also closely related to the fundamental question of “what is a documentary.” Whether it is related to the subject itself or the trust between the film and the audience, concerns over the authenticity of the depiction lie in the characteristic of the genre that is based on “reality” seen through the subjective involvement of a director. Another need to understand the problem of dramatic depiction in documentaries is the fact that dramatic depiction has been a central issue in the discussion on the genre since its birth. It is then necessary to explore why dramatic depiction has had such a close relationship with the documentary genre. To find out what influence dramatic depiction wields over the aesthetics of a documentary film, one must first determine the role of dramatic depiction in the film. This article examines the effects of dramatic depiction in Old Partner and Nanook of the North to find an angle of analysis. Old Partner resembles Nanook of the North, the first documentary film, in several ways including the romanticizations of the subject and its use of dramatic depiction as the driving force of the piece. The two films show that the issue of dramatic depiction is a timeless one in the discourse on documentary films, and also that dramatic depiction serves as a foundation for aesthetic achievement in the genre. The significance of dramatic depiction is highlighted in this article. This article examines the function of dramatic depiction rather than the paradoxical nature of documentary films as a “dramatic depiction” of “reality.”