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포스트 모더니즘에서 본 영상콘텐츠 / 2판

자료유형
단행본
개인저자
김혁조, 1967-
서명 / 저자사항
포스트 모더니즘에서 본 영상콘텐츠 / 김혁조 저
판사항
2판
발행사항
서울 :   한올출판사,   2021  
형태사항
321 p. : 삽화 ; 23 cm
ISBN
9791166471322
서지주기
참고문헌 수록
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005 20210924102322
007 ta
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020 ▼a 9791166471322 ▼g 13320
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082 0 4 ▼a 791.4501 ▼2 23
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090 ▼a 791.4501 ▼b 2021
100 1 ▼a 김혁조, ▼d 1967- ▼0 AUTH(211009)70752
245 1 0 ▼a 포스트 모더니즘에서 본 영상콘텐츠 / ▼d 김혁조 저
250 ▼a 2판
260 ▼a 서울 : ▼b 한올출판사, ▼c 2021
300 ▼a 321 p. : ▼b 삽화 ; ▼c 23 cm
504 ▼a 참고문헌 수록
945 ▼a KLPA

소장정보

No. 소장처 청구기호 등록번호 도서상태 반납예정일 예약 서비스
No. 1 소장처 중앙도서관/제3자료실(4층)/ 청구기호 791.4501 2021 등록번호 111853400 도서상태 대출가능 반납예정일 예약 서비스 B M

컨텐츠정보

책소개

이 책은 포스트 모더니즘의 철학적 배경인 후기구조주의에 대해 그 특징을 중심으로 살펴보는 것에서부터 시작한다. 후기구조주의는 전반적으로 모더니즘이 가진 획일성, 동일성, 일반화를 거부하고, 다양성과 차이를 복원시켜 인간성을 회복하려는 특징을 지닌다. 따라서 기존의 정형화된 것들을 해체하고 새로운 시선으로 인간과 세상을 보려 한다. 많은 학자들중에서 푸코, 데리다, 료타르, 보드리야르 등의 논의를 가져왔다.


정보제공 : Aladin

저자소개

김혁조(지은이)

1994년부터 약 13년 동안 한국교육방송공사(EBS)에서 PD로 재직하면서 다큐멘터리, 드라마, 종합구성물, 취재물 등 많은 방송 프로그램을 제작하였다. 대표작으로는 EBS 드라마 ‘학교이야기’와 EBS 최초의 HD 드라마 미니시리즈 ‘엄마와 함께 쓰는 동화’, ‘미리가본 대학’, ‘시네마 천국’ 등이 있다. 2006년부터는 강원대학교 신문방송학과에서 방송현장의 경험을 학생들과 공유하며 방송기획 및 제작, 영상 콘텐츠 연구, 포스트모더니즘 등을 가르치고 있다. 수업시간에 학생들과의 교감을 통해 흘러나오는 아이디어들을 다큐멘터리 등으로 제작하여 세상에 알리고도 있다. 온 캠퍼스와 학생들에게 새로움이라는 바이러스가 넘쳐나도록 노력하고 있으며 이를 영상 콘텐츠로 만들기 위해 지금도 행복한 고민을 하는 중이다.

정보제공 : Aladin

목차

Chapter 01 포스트 모더니즘의 철학적 배경, 후기구조주의 개관

01. 후기구조주의, 너는 어떻게 태어났니?······························ 10

02. 구조주의, 후기구조주의의 얼굴······································ 13

03. 후기구조주의란 놈의 캐릭터··········································· 16

-추상적 체계성 및 총체성에 대한 거부 - 다양성, 개별성에 대한 존중··································· 16

● 푸코의 광기······················································ 17

● 데리다의 해체··················································· 18

● 료타르의 소서사················································ 20

● 보드리야르의 기호, 이미지································· 21

-데카르트적 주체 개념에 대한 불신 - 이성 더하기 감성, 인간적인 너무나 인간적인············· 22

● 푸코의 탈옥······················································ 23

● 료타르의 언어유희············································· 24

● 데리다의 상실, 흩뿌림········································ 25

● 보드리야르의 허상············································ 26

-언어의 지시적 기능에 대한 불신 - 지고지순한 언어는 없다········································ 27

● 데리다의 차연(differnace)·································· 28

● 푸코의 언술······················································ 30

● 보드리야르의 기호 침투····································· 30

Chapter 02 푸코는 드라마 제작과정을 어떻게 보았을까?

01. 미셸 푸코의 권력이론과 규율 권력··································· 38

-권력이론의 전개과정··············································· 38

● 광기의 역사······················································ 40

● 임상의학의 탄생················································ 42

● 말과 사물························································· 44

● 지식의 고고학··················································· 46

● 감시와 처벌······················································ 48

● 성의 역사························································· 53

-권력개념의 인식론적 특징········································ 59

● 편재적 권력·······················································61

● 관계적 권력······················································ 63

● 생산적 권력······················································ 65

-규율권력······························································ 67

● 규율권력의 습관적 침윤(浸潤)···························· 75

● 규율권력의 행사··············································· 85

02. TV 드라마 제작과정····················································· 95

-드라마 제작 전(前) 단계 ·········································· 95

● 편성 ······························································· 96

● 인사 ····························································· 100

● 스태프 구성···················································· 104

-드라마 제작 단계················································· 108

● 대본 작업······················································· 109

● 촬영 작업························································113

● 완성 작업························································119

03. 규율권력은 TV 드라마 제작과정에서 어떻게 습관적으로 스며들고 있나?··································································· 122

-공간의 분할···················································· 122

-시간의 관리···················································· 132

-힘의 조합··························································· 144

04. 규율권력은 TV 드라마 제작과정에서 어떻게 행사되고 있나?··· 157

-위계적 감시····················································· 157

-규범화한 제재·················································· 172

-시험······························································ 181

Chapter 03 포스트 모더니즘, 그리고 글쓰기

01. 중심의 해체, 주변의 부상············································ 202

-영화 ‘매트릭스’의 함의··········································· 202

-‘남/녀’는 있고, ‘남자스러움 ……… 여자스러움’은 없다···················· 204

-주변에 산포해 있는 작은 이야기들···························· 206

-기자를 넘어 스토리텔러(Storyteller)로····················· 209

02. 언어 아닌 언어, 새로운 방식의 말하기···························· 213

-SNS, 이를 어찌할꼬?············································ 213

-편한 것이 좋은 것인감?···········································216

03. 인간, 자연의 한 자락·················································· 218

-자연의 품을 떠난 인간············································ 218

-자연을 빚다························································· 220

04. 본다는 것은 무엇일까?················································ 223

-UHD 엿보기························································ 223

-당연한 것을 뒤집어 보게 하는 「본다는 것의 의미」······· 226

Chapter 04 영상속에 숨겨진 비밀

01. 티코와 에쿠스는 자동차인가?······································· 232

02. 가족 사진앨범속의 사진은 우리 가족의 진정한 모습인가?··234

03. 동물원의 원숭이는 진짜 원숭이인가?····························· 237

04. 몇몇 텔레비전 프로그램들··········································· 239

-혼종적 다큐멘터리 ‘마리온 이야기’에 대한 이야기········ 239

● 서사구조························································ 251

● 전통적 가족애의 복원과 반자연주의에 대한 경종············································································ 254

● 몰입형 언술과 혼종적 표현······························· 258

-여행 다큐멘터리의 장소재현 연구 - ‘걸어서 세계 속으로’와 ‘세계테마기행’을 중심으로 ·· 268

● 스토리 구조 분석············································ 279

● 서술자 분석···················································· 282

● 시청각적 진술·················································284

-PP(Program Provider)를 통해 본 지상파 DMB 콘텐츠의 특성: TBS 교통방송을 중심으로····························· 294

● SMS를 통한 쌍방향성의 실현··························· 306

● 외국인, 게임채널 VJ등에 이르는 차별화된 캐릭터··········································································· 310

● 인포테인먼트, 실험, 그리고 생방송·····················312

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