디지털 시대, 스토리텔러로서의 TV드라마 시론(試論) - MBC 드라마「환상의 커플」을 중심으로 Essay on TV Drama as a Storyteller in the Digital Era - Focus on the MBC TV Drama Couple in Trouble원문보기
This thesis is an essay on the method of existence of the TV Drama as a Digital Era story-teller. Through the MBC weekend special drama Couple in Trouble, I looked into the connection between story-telling and TV Drama, and by examining the TV Drama’s characteristic of being completed through viewer...
This thesis is an essay on the method of existence of the TV Drama as a Digital Era story-teller. Through the MBC weekend special drama Couple in Trouble, I looked into the connection between story-telling and TV Drama, and by examining the TV Drama’s characteristic of being completed through viewer participation, I explored the new status of TV Drama as a story-teller in the Digital Era. I analysed the story-telling by classifying into the presence and inter-activeness of TV Drama. Then I took a detailed look at the fun of participation through the dialog Processes inside and outside of the text. Couple in Trouble accomplishes currency through correspondence between the actual season with the season within the story, between the places in reality and those in the story, and through popular contemporary music, expressions, and parody of highly recognized advertisements. As for dialog inside the text, it was common in the form of dramatic setting of a scene where characters in different places appear as if they were talking to each other. Particularly, as the story moves to the latter half, the interaction between dramatic situations also appears in the method of repetition or variation of situations or dialogs that were accumulated to that point. Dialog outside of the text included attempts at parody of a scene from a familiar movie or drama, or twisting customary expressions(cliches). Moreover, I observed that the fun in the process itself of viewers jumping into the TV Drama text and participating is the driving force that enables TV Drama text to be interpreted in a variety of ways. As a result, I was able to confirm the existence method of TV Drama as a story-teller in the Digital Era. As a story-teller in the Digital Era, in order to properly understand the form of existence of TV Drama, a change is necessary in the perception of TV Drama. Of course, the poor production environment where ‘filming’ and ‘broadcasting’ take place simultaneously, which were criticized as the decisive element that damaged the degree of perfection of the TV Drama, must be improved. However, paradoxically, the argument for total ‘pre-production system’ as an alternative is highly likely to bring about negative side effect of preventing viewer participation. Therefore, with the premise of changing the paradigm of ‘quality ploy’, it is not advisable to insist upon total pre-production system for all works, but there should be a variety of choices for each work.
This thesis is an essay on the method of existence of the TV Drama as a Digital Era story-teller. Through the MBC weekend special drama Couple in Trouble, I looked into the connection between story-telling and TV Drama, and by examining the TV Drama’s characteristic of being completed through viewer participation, I explored the new status of TV Drama as a story-teller in the Digital Era. I analysed the story-telling by classifying into the presence and inter-activeness of TV Drama. Then I took a detailed look at the fun of participation through the dialog Processes inside and outside of the text. Couple in Trouble accomplishes currency through correspondence between the actual season with the season within the story, between the places in reality and those in the story, and through popular contemporary music, expressions, and parody of highly recognized advertisements. As for dialog inside the text, it was common in the form of dramatic setting of a scene where characters in different places appear as if they were talking to each other. Particularly, as the story moves to the latter half, the interaction between dramatic situations also appears in the method of repetition or variation of situations or dialogs that were accumulated to that point. Dialog outside of the text included attempts at parody of a scene from a familiar movie or drama, or twisting customary expressions(cliches). Moreover, I observed that the fun in the process itself of viewers jumping into the TV Drama text and participating is the driving force that enables TV Drama text to be interpreted in a variety of ways. As a result, I was able to confirm the existence method of TV Drama as a story-teller in the Digital Era. As a story-teller in the Digital Era, in order to properly understand the form of existence of TV Drama, a change is necessary in the perception of TV Drama. Of course, the poor production environment where ‘filming’ and ‘broadcasting’ take place simultaneously, which were criticized as the decisive element that damaged the degree of perfection of the TV Drama, must be improved. However, paradoxically, the argument for total ‘pre-production system’ as an alternative is highly likely to bring about negative side effect of preventing viewer participation. Therefore, with the premise of changing the paradigm of ‘quality ploy’, it is not advisable to insist upon total pre-production system for all works, but there should be a variety of choices for each work.
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