본 연구는 안정성의 영역과 더불어 변동성이 장르 연구에 어떠한 시사점을 줄 수 있는 지 물음을 던지고자 한다. 장르의 변동성은 네 가지 측면에서 다루어진다. 첫째는 장르의 역사성이다. 둘째는 개별 장르의 하부 장르이다. 셋째는 장르는 내러티브의 다층적 구조이다. 그리고 마지막으로 장르 혼용의 현상이다. 이와 같은 장르의 변동성에 대한 논의는 장르 연구가 생각보다 훨씬 더 복잡한 구조를 가지고 있다는 점만 부각시킬 수 있다. 하지만 최근의 장르에 대한 논의 자체가 경계의 모호성과 복합화된 특성을 수용한다는 점을 고려한다면 이는 체계적 분석을 위한 기본 토대를 구축하게 한다고 할 수 있다. 한국에서 개별 장르에 대한 분석이 아니라 장르 전반에 대한 이론적 혹은 방법론적 접근을 시도한 논문은 거의 없다고 해도 과언이 아니다. 장르 연구를 어떻게 해야 할 것인가, 또는 장르 연구에서 기본적으로 고려해야 할 요인들은 무엇인 가를 다루는 이론적 탐색을 수행한 글은 부재하다. 이와 같은 현재적 상황을 고려할 때 본 연구는 장르 연구의 새로운 모델을 제시하려고 노력하기 보다는 이론적 탐색에 대한 필요성을 제기하는 초기 작업으로 의미를 가지고자 한다.
본 연구는 안정성의 영역과 더불어 변동성이 장르 연구에 어떠한 시사점을 줄 수 있는 지 물음을 던지고자 한다. 장르의 변동성은 네 가지 측면에서 다루어진다. 첫째는 장르의 역사성이다. 둘째는 개별 장르의 하부 장르이다. 셋째는 장르는 내러티브의 다층적 구조이다. 그리고 마지막으로 장르 혼용의 현상이다. 이와 같은 장르의 변동성에 대한 논의는 장르 연구가 생각보다 훨씬 더 복잡한 구조를 가지고 있다는 점만 부각시킬 수 있다. 하지만 최근의 장르에 대한 논의 자체가 경계의 모호성과 복합화된 특성을 수용한다는 점을 고려한다면 이는 체계적 분석을 위한 기본 토대를 구축하게 한다고 할 수 있다. 한국에서 개별 장르에 대한 분석이 아니라 장르 전반에 대한 이론적 혹은 방법론적 접근을 시도한 논문은 거의 없다고 해도 과언이 아니다. 장르 연구를 어떻게 해야 할 것인가, 또는 장르 연구에서 기본적으로 고려해야 할 요인들은 무엇인 가를 다루는 이론적 탐색을 수행한 글은 부재하다. 이와 같은 현재적 상황을 고려할 때 본 연구는 장르 연구의 새로운 모델을 제시하려고 노력하기 보다는 이론적 탐색에 대한 필요성을 제기하는 초기 작업으로 의미를 가지고자 한다.
As a term indicating for type or kind, genre is employed in film studies for dividing films into categories which are composed of a set of interrelated stories and associated images. The most popular genres include such genres as melodrama, war films, crime movies, action, martial arts, horror, come...
As a term indicating for type or kind, genre is employed in film studies for dividing films into categories which are composed of a set of interrelated stories and associated images. The most popular genres include such genres as melodrama, war films, crime movies, action, martial arts, horror, comedy, the Western, musicals. In these categories, narratives become generic by virtue of heavy repetition with relatively unchanging formulas. In this view, the concept of genre is more associated with similarity. Within the circle of film criticism, therefore, the concept of genre begins with researches on the finding of similarity among films. Each genre is differentiated according to narrative formulas and images, assuming that each one is pure. Each one seems to be mutually exclusive, even though we can seldom find this aspect in a corpus of researches in recent film studies. The genre organizes large numbers of individual works into a coherent system. Genre studies plays a significant role in both making certain categories and of justifying the classifications once they have been made. As Rick Altman (1999) emphasizes, however, we are finding that genres are far from exhibiting the homogeneity that this kind of a synchronic approach posits. The idea of genre as a stable system has been considered to be natural either in industrial circles or in film criticism. If we can scrutinize recent studies on genre, however, it is easily found that recent works have tried to overcome the idea of genre as a stable system. It is because the concept of the genre has a tendency to limit the free play of signification. Furthermore, some scholars (ironically, most scholars in genre studies) found that genre is already unstable and there is little agreement on what exactly genre means or whether the term has any use at all. Following recent discussions on film genres (Altman, 1999; Beebee, 1994; Berliner, 2001; Buscombe, 1995; Feuer, 1992; Tudor, 1995), I want to discuss films genre, focusing on what aspects are significantly considered in recent studies. In this study, the idea of genre as a stable system has a role of the guiding principle. But this study is more associated with the fluctuation of film genre. The purpose of this study lies, therefore, in a theoretical exploration on this fluctuating nature of genre. The fluctuation of genre will be discussed by four aspects: 1) historical transformation of genre, which change establishing rules and conventions 2) the existence of subgroups within a specific genre, most of which seldom possess similarity 3) the diverse and complex structure of narrative within a genre, which sometimes creates different viewing experience 4) the hybridization of genre, whose recent trends emphasize that no genre film is pure. The discussion of these aspects will be useful for future genre studies, providing a way of rethinking on the ambiguity of generic boundaries and the complication of genre conventions.
As a term indicating for type or kind, genre is employed in film studies for dividing films into categories which are composed of a set of interrelated stories and associated images. The most popular genres include such genres as melodrama, war films, crime movies, action, martial arts, horror, comedy, the Western, musicals. In these categories, narratives become generic by virtue of heavy repetition with relatively unchanging formulas. In this view, the concept of genre is more associated with similarity. Within the circle of film criticism, therefore, the concept of genre begins with researches on the finding of similarity among films. Each genre is differentiated according to narrative formulas and images, assuming that each one is pure. Each one seems to be mutually exclusive, even though we can seldom find this aspect in a corpus of researches in recent film studies. The genre organizes large numbers of individual works into a coherent system. Genre studies plays a significant role in both making certain categories and of justifying the classifications once they have been made. As Rick Altman (1999) emphasizes, however, we are finding that genres are far from exhibiting the homogeneity that this kind of a synchronic approach posits. The idea of genre as a stable system has been considered to be natural either in industrial circles or in film criticism. If we can scrutinize recent studies on genre, however, it is easily found that recent works have tried to overcome the idea of genre as a stable system. It is because the concept of the genre has a tendency to limit the free play of signification. Furthermore, some scholars (ironically, most scholars in genre studies) found that genre is already unstable and there is little agreement on what exactly genre means or whether the term has any use at all. Following recent discussions on film genres (Altman, 1999; Beebee, 1994; Berliner, 2001; Buscombe, 1995; Feuer, 1992; Tudor, 1995), I want to discuss films genre, focusing on what aspects are significantly considered in recent studies. In this study, the idea of genre as a stable system has a role of the guiding principle. But this study is more associated with the fluctuation of film genre. The purpose of this study lies, therefore, in a theoretical exploration on this fluctuating nature of genre. The fluctuation of genre will be discussed by four aspects: 1) historical transformation of genre, which change establishing rules and conventions 2) the existence of subgroups within a specific genre, most of which seldom possess similarity 3) the diverse and complex structure of narrative within a genre, which sometimes creates different viewing experience 4) the hybridization of genre, whose recent trends emphasize that no genre film is pure. The discussion of these aspects will be useful for future genre studies, providing a way of rethinking on the ambiguity of generic boundaries and the complication of genre conventions.
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