• Korean journal of communication and information
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• v.51
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• pp.156-173
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• 2010

This study analysed the narrative of and , two history documentary broadcasted on KBS, in terms of story-telling and discourse. And it also examined whether TV as mass media could provide an alternative interpretation against the dominant historical awareness. As a result, both programmes showed limitations on representing subversive point of view to the dominant ideology. At the story-telling level, firstly, they represented in a way of male-hero narrative though they were describing the history of woman, and while representing woman as a public figure they eliminated her feminity and individuality. Secondly, before evaluating woman as a historic figure they previously appreciated her appearance in a male-point of view. Thirdly, although they were telling the story of woman in a political view, they focused on love triangle, therefore failed to make her as a public figure. The discourses of both programmes were anchoring the existing historical interpretation instead of offering an alternative historical imagination. The narrator who were telling history at the studio in a omniscient viewpoint took a role as a meaning definer, placed at the highest rank in the hierarchy of discourse structure. Especially in , the dramatized images to cover lack of visual data helped anchor the patriarchal narrative and reduced the possibility of subversive interpretation on historic figure.

• The Journal of the Korea Contents Association
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• v.21 no.12
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• pp.757-764
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• 2021

This study analyzes the signification structure and mythical meaning of Hirokazu Koreeda's documentary . In other words, by approaching the signification structure of the semiotic elements that constitute storytelling, the mythical meaning implied by is widely examined. It is to discuss the essential characteristics of the aesthetic form he is aiming for, and at the same time, to look at the aesthetic type that expands the meaning value of documentary storytelling. In particular, Hirokazu Koreeda uses typical and symbolic elements in harmoniously in the storytelling process. By applying such a dual aesthetic form, it effectively conveys the mythical meaning required in the times to the audience. Therefore, is a signification system that emits mythical meaning, and it reflects the aesthetic intention of Hirokazu Koreeda who has confidence in the imagination of the audience.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2014.05a
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• pp.513-515
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• 2014

Ultra High Definition(hereafter UHD), Next-generation video technology, was quickening in the request of many years of the recipient and the authors who have been towards the higher sense of reality. The change of the medium has resulted in a mutation in the detailed content and the point of view overlooking the world as evidenced through the history. Thus the emergence of UHD will also be expected to require to manufacture unique technology. Therefore, this paper, especially in the documentary among the video content, tries to study the changes in the manufacturing process by UHD video technology. Moreover UHD video screen technology such as high resolution tries to analyse for the fitness for purpose of the documentary that transmission of the accuracy and the change from a documentary video production. In addition, I try to explore the improvement in the choice of shooting material expected to be a problem, even for the advance of the work on the second half and backup according to the enormous data. We derive the developmental aspects that UHD video technology in documentary production is brought about by the research plan described above. It is intended to contribute to the development of content production with the development of technology.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.209-221
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• 2019

A found-footage film La France est notre patrie is a documentary, in which archive images are juxtaposed with intertitles, non-diegetic music and foley, by borrowing an audiovisual strategy of silent films. The filmmaker Rithy Panh has excavated the images, which had been taken during the same period as the film history of the end of the 19^th and early 20^th centuries in Southeast Asia and Africa under French colonial rule. This paper examines the filmmaker's methods of historiography when utilizing archive images in order to represent the past by referring to Walter Benjamin's concept of historical montage and dialectical image. As the analysis illustrates the singularity of constructive methods, which include multi-layer viewpoints and montage styles of compilation and collage, it reveals how La France est notre patrie elicits the essay film modes through its self-reflexivity, leads audience to the threshold of critical thinking about time and history and creates a discourse of counter-memory.

• Trans-
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• v.11
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• pp.37-63
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• 2021

This paper focused on documentaries and for specific places and described the documentary shooting methodology from the perspective of a Cinematographer. 'Old Seoul Station' and 'DSME' (DAEWOO Shipbuilding & Marine Engineering Co., Ltd.) are monumental spaces that reflect the value of Korea modernization and are shared by Koreans' collective memories, unconsciousness, and unique feelings for the place. 'Old Seoul Station' has changed its place identity to a new space called "Culture Station Seoul 284." 'DSME' is a large-scale industrial complex that still functions actively, and it is like an organism that seeks to change according to changes in its industrial structure. and observe and record images of space related to place identity and the people related to it. It shows the construction of staring into a space in a particular place and continuously recording and placing moments of experience, such as the appearance of people working and resting. If it is not recorded through this, it allows us to see intangible narratives related to volatile place identity, and enables specific place experiences through theaters. This study focuses on production theory based on examples of documentary filming methods for these specific places.

• The Korean Journal of Archival Studies
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• no.65
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• pp.227-251
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• 2020

The documentation of a city can never be complete with only the documentation of the administrative domain, and requires that of its citizens, who are living in the city in different ways. This study attempts to present the documentation of the memories of the citizens, which either have never been produced or have been damaged and thus are difficult to be collected. From the Archival Activist point of view, this study suggests documentary as its research method, in order to leave trace of various experiences of Seoul, which are not recorded in document but are rooted in its people's memories and their daily lives. Documentaries are characterized by their narrative. This can be somewhat arbitrary, but it is due to their narrative that this study suggests documentaries, rather than oral statements, as a new form of method. While, due to its self-historicality, oral records are subject to producing redundant or irrelevant memories, documentaries enable the documentation of data relevant to the topic of collection. First, the study presents the narrative-based archiving, which is the same method of collection suggested by Seoul Metropolitan Archives, and then explores the role and significance of documentary archiving. It further presents the conditions in which documentary archiving is required in the context of narrative-based collection. The study presents the planning and implementation of documentary archiving and introduces one of the three documentaries produced by 2019 Seoul Archiving Project.

• The Journal of the Korea Contents Association
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• v.18 no.8
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• pp.638-645
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• 2018

'42nd Broadway' is one of the most authentic, genuine and renowned musical pieces among the numerous musicals. By approaching every element in the Backstage from the perspective of an actor who is apart of the show, not a professional photographer, rather than an the usual objects on the Front Stage which is imprinted in the minds of the ordinary people through the media or the numerous flyers sent from the theaters, intented to describe the life as it is in the Back Stage by examining various elements such as the sets or make-up rooms, rather than the momentary, technically staged imageries. In the industrial aspect as well, the implication of this documentary would be that a more realistic set of photography was provided instead of the existing ones that usually focused on the'staged,' or 'guarded' images of the musical as shown in the promotional materials or the Front Stage still cuts.

• The Journal of the Korea Contents Association
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• v.18 no.12
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• pp.108-117
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• 2018

Xiao Quan is a leading documentary portrait photographer in China. He tried to shoot portrait photographs of celebrities in the literary and artistic world. By doing this, he represented their time period. We explored the way Xiao Quan implemented the times they lived in by analyzing their portrait photographs included in . Our research showed that Xiao Quan used images of their living environments, clothes and facial expressions and composition of portraits. Such various methods of creation are a means for the symbolic expressions of their times. This research not only finds the way Chinese documentary portraits are created but also provides an opportunity to increase the value of documentary portraits as historic documents.

• Cartoon and Animation Studies
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• s.45
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• pp.479-512
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• 2016

This is a practice-based research, aiming to explore the experiments of Animated Documentary, which is a unique form can explore the mysteries and complexity of memories. Animated Documentary is a medium through which one can reveal an individual's memories within the context of a narrative that is historically situated and influenced. The marriage of animation and documentary gave birth to a new form of film. How to category this new form? Is it an animated short or documentary short? In fact, this raises issue that questioning the nature of animation and documentary. From Shuibo Wang's works, more young Chinese artists began to experiment with symbols (related to the Political Pop Trend) in visual narration, which could also be seen as a reflection of structuralism and semiology in the contemporary Chinese art field. As a case study, this paper demonstrates how animated short "Ketchup" revealed the problems of youth and social turmoil through the memories of a six-year boy. On the Festivals and conferences, the publics were shocked to know "Ketchup" based on true memories, and they were more curious why the crucial things almost be forgotten. Actually forget fulness is one of the layers of memories and Animated Documentary will offer a new way to explore how our memories are shaped.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.15 no.1
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• pp.55-60
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• 2014

The purpose of this paper aim to figure in contemporary human documentary as a cultural aspect of daily life in the era of 1920s in Korea. The significant of documentary exams the record and social-oriented representation methods of important essay of works. The result of an analysis of Norbert Weber's with historical figure of modern Korea society given the appearance of a human observer ever put out a human form of the documentary format in accordance with the configuration of visual narrative and the structure of the recipient to implement the symbolic value of belief. And, the result of the technical expression of the various frame works with the configuration of the reality of importance of human values and describe the experiences of being analyzed.