역사에 대한 인기가 높아지면서 역사 다큐에 대한 관심도 높아지고 있다. 동아시아에서 제작된 역사 다큐들 중에서 일본 NHK와 중국 CCTV가 공동 제작한 《실크로드》와 《신실크로드》 시리즈는 가장 성공적인 프로그램으로 인정을 받고 있다. 대규모 인원과 제작비가 투입된 이 시리즈는 동아시아를 넘어 서구에서도 큰 인기를 끌었다. 소재도 매력적이지만. 제작 방식에 있어서도 참신한 시도들이 많이 선보였기 때문이다. 이 프로그램은 이 후로 제작되는 역사 다큐 제작에 있어서 하나의 좋은 모델이 되었다.
《실크로드》가 처음으로 방영된 해는 1980년이고, 《신실크로드》는 이로부터 25년 이 지난 후에 첫 방영되었다. 이들 사이에는 재연 방식을 둘러싸고 많은 차이점이 있는데, 이 차이점들은 역사 다큐를 둘러싼 철학과 사회 환경, 제작환경 그리고 시청자들의 취향 변화가 프로그램 제작에 반영된 결과이다. 이에 관한 분석은 이같은 변화들을 파악할 수 있게 할 뿐 만 아니라 재연과 관련된 선진 방식에 대해 파악할 수 있는 좋은 기회를 제공한다.
역사에 대한 인기가 높아지면서 역사 다큐에 대한 관심도 높아지고 있다. 동아시아에서 제작된 역사 다큐들 중에서 일본 NHK와 중국 CCTV가 공동 제작한 《실크로드》와 《신실크로드》 시리즈는 가장 성공적인 프로그램으로 인정을 받고 있다. 대규모 인원과 제작비가 투입된 이 시리즈는 동아시아를 넘어 서구에서도 큰 인기를 끌었다. 소재도 매력적이지만. 제작 방식에 있어서도 참신한 시도들이 많이 선보였기 때문이다. 이 프로그램은 이 후로 제작되는 역사 다큐 제작에 있어서 하나의 좋은 모델이 되었다.
《실크로드》가 처음으로 방영된 해는 1980년이고, 《신실크로드》는 이로부터 25년 이 지난 후에 첫 방영되었다. 이들 사이에는 재연 방식을 둘러싸고 많은 차이점이 있는데, 이 차이점들은 역사 다큐를 둘러싼 철학과 사회 환경, 제작환경 그리고 시청자들의 취향 변화가 프로그램 제작에 반영된 결과이다. 이에 관한 분석은 이같은 변화들을 파악할 수 있게 할 뿐 만 아니라 재연과 관련된 선진 방식에 대해 파악할 수 있는 좋은 기회를 제공한다.
Silk Road, a documentary series produced by NHK and CCTV from 1980, was prepared when intellectual seriousness and solemnity were pervasive. The elaborate research method, interpretation of professional contents, and slow development of the show reflect this social atmosphere. At the time when this ...
Silk Road, a documentary series produced by NHK and CCTV from 1980, was prepared when intellectual seriousness and solemnity were pervasive. The elaborate research method, interpretation of professional contents, and slow development of the show reflect this social atmosphere. At the time when this documentary was produced, there were few accumulated research performances and little production know-how. Silk Road reacts history in a very classic manner. Its format is narrative, showing documents and interpretation while showing relics and current symbolic appearances. There are hardly any scenes using actors. This is probably because of the intellectual and serious social atmosphere concerning history and the lack of research performances. One re-enactment, which can be found in "A Heat Wave Called Turfan" is the short and symbolic scene in which the Hyeonjang beopsa(Buddhist priest) leaves Gaochang country, and is related to such issues. New Silk Road shows the radically changed thought of people and broadcasting environments since that time. They include the postmodernist debate, the advent of a multi-media multi-channel society, globalization, and the development of a digital information technology. Owing to these changes, the possibility and type of documentary expression became broader and more dynamic. Plus, image came to be stressed more than narratives. The restoration of wall paintings shown in the episode 2 is a good example reflecting this. Imagination founded on elaborate data collection, strict analysis, and reliable background is a very precious paragon in restoring cultural assets by utilizing digital technology. Also, it is a valuable case in terms of the type of delivery so that an audience can fully understand and appreciate the restored wall paintings. Princess Xiaohe" tried to show an aspect of past culture through the acting of actors and actresses, but this is often discovered throughout the series. The scene of reviving the appearance of women 4,000 years ago has a number of problems. Due to the lack of scientific research outcomes of the society at that time, insincerity in data research, and the excessive guessing and generalization of the producers, the audience is highly likely to have a wrong ideas and dreams about the society. The form and quality of contents do not improve just because of technical developments only. Along with technical developments, it is necessary to have diverse critical reflections about the nature of contents, which will only improve the quality of contents and diversify their form.
Silk Road, a documentary series produced by NHK and CCTV from 1980, was prepared when intellectual seriousness and solemnity were pervasive. The elaborate research method, interpretation of professional contents, and slow development of the show reflect this social atmosphere. At the time when this documentary was produced, there were few accumulated research performances and little production know-how. Silk Road reacts history in a very classic manner. Its format is narrative, showing documents and interpretation while showing relics and current symbolic appearances. There are hardly any scenes using actors. This is probably because of the intellectual and serious social atmosphere concerning history and the lack of research performances. One re-enactment, which can be found in "A Heat Wave Called Turfan" is the short and symbolic scene in which the Hyeonjang beopsa(Buddhist priest) leaves Gaochang country, and is related to such issues. New Silk Road shows the radically changed thought of people and broadcasting environments since that time. They include the postmodernist debate, the advent of a multi-media multi-channel society, globalization, and the development of a digital information technology. Owing to these changes, the possibility and type of documentary expression became broader and more dynamic. Plus, image came to be stressed more than narratives. The restoration of wall paintings shown in the episode 2 is a good example reflecting this. Imagination founded on elaborate data collection, strict analysis, and reliable background is a very precious paragon in restoring cultural assets by utilizing digital technology. Also, it is a valuable case in terms of the type of delivery so that an audience can fully understand and appreciate the restored wall paintings. Princess Xiaohe" tried to show an aspect of past culture through the acting of actors and actresses, but this is often discovered throughout the series. The scene of reviving the appearance of women 4,000 years ago has a number of problems. Due to the lack of scientific research outcomes of the society at that time, insincerity in data research, and the excessive guessing and generalization of the producers, the audience is highly likely to have a wrong ideas and dreams about the society. The form and quality of contents do not improve just because of technical developments only. Along with technical developments, it is necessary to have diverse critical reflections about the nature of contents, which will only improve the quality of contents and diversify their form.
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