한국 팩션영화 스토리텔링의 이중전환 전략

서지정보

· 발행기관 : 디지털스토리텔링학회
· 수록지 정보 : 디지털스토리텔링연구 / 5권
· 저자명 : 선영

목차

1. 한국 팩션영화 이중전환 연구의 필요성
2. 팩션영화
3. ‘이중전환(Double Adaptation)’과 ‘다중전환(Multiple Adaptation)’
4. ‘이중전환’된 팩션영화의 주요 특징과 유형
5. 중간적 결론
참고문헌

초록

지난 20여 년간 한국 영화산업은 질적, 양적으로 급성장하였다. 세계 주요 영화제의 수상을 통해 그 예술적 완성도를 증명하고 있으며, 할리우드 영화에 맞서 50% 이상의 자국 영화 점유율을 유지하고 있는 몇 안 되는 나라이기도 하다. 이러한 산업의 성장에도 불구하고 한국 영화의 미래와 비전에 대해서는 어느 누구도 그 명확한 해답을 주지 못하고 있다. 한국 영화산업의 발전적 대안을 제시하기는 어렵지만, 지난 한국 영화산업의 급성장을 설명하는 요인으로 가장 많이 언급되는 것이 기획이다. 특히 산업의 급성장기에 프로듀서군의 우수한 기획력은 한국 영화산업의 중요한 원동력임을 부정할 수 없다. 과거부터 지금까지 다른 어떤 나라보다도 월등히 높은 비율의 오리지널 시나리오가 영화화되고 있다는 사실에서 우리는 한국 창작 집단의 우수한 기획력에 대해 다시금 생각해 볼 수 있다. 그러나 한국 영화산업이 안정화(정확히는 90년대 후반 산업의 주류로 부상한 기획 프로듀서가 점차 산업의 기득권층으로 전락)되면서 오리지널 시나리오를 바탕으로 제작되는 영화가 점차 줄어들고 있다. 오리지널 시나리오를 바탕으로 제작되는 영화가 줄어드는 것은 한국 영화산업의 질적인 성장이 급속히 둔화되고 있음을 보여주고 있는 중요한 사례가 될 것이다. 이러한 침체를 기획력의 부재에서 찾는 시각이 많다. 기획력은 창작 집단의 중요한 축인 프로듀서군의 퇴보만을 의미하지 않는다. 이러한 빈자리를 소수의 스타 감독의 작가주의적 상업영화, 한국형 블록버스터 혹은 원작을 바탕으로 전환되는 기획영화가 채워가고 있다.

영어초록

This paper has its purpose in groping the possibility of faction contents as the material for planning and development by analyzing the storytelling strategy based on the ‘double adaptation’ of faction contents. Faction, a newly-coined word that was made by putting fiction and fact together, is certainly a useful field when considering the concept of adaptation of the original movie. Already many debaters have agreed to the commercial value of faction contents and are presenting methodologies of planning and development of various shapes. The debater explain by comparing the concept of ‘multiple adaptation’ of OSMU and the concept of ‘double adaptation’ of faction contents and explain that this Adaptation is a process of a unique Adaptation that occurs in faction contents. ‘double adaptation’ can be understood as a process of adaptation and as converting twice on the basis of a certain strategic purpose, that is an identical storytelling. ‘double adaptation’ is a term that was named in the viewpoint of the movie that is the final result that went through the process of the first adaptation and was converted secondly. In addition ‘double adaptation’ and the difficulty of the establishment of plot that occurs in the process of genre adaptation and the adaptation of storytelling of this should be distinguished. The strengthening and expansion of storytelling that occurs in the process of adaptation is not something for the completeness of the adaptation but a core principle that makes the value of the adaptation. What is important is to understand the law of storytelling that exists beyond media and genre. The types of faction movies that were double-adapted can be divided into three types. The debater divides the types into the motive adaptation type, the storytelling adaptation type and the mixed (motive+storytelling) adaptation type and explains the contents of each adaptation. The motive adaptation type is a representative case of the tendency to use the original work only as the part of material and is a adaptation type that cannot easily obtain commercial possibility even though it goes through the process of ‘double adaptation’, and it is thought that the storytelling adaptation type is a adaptation type that more showed the possibility of a commercial success as a compared concept. Lastly the debater explains that the mixed adaptation type that digs out material and converts the storytelling of this is a type that can provide the motive of faction movies and adapt the storytelling that puts genre together at the same time. In conclusion, in the study about ‘double adaptation’, in the first adaptation faction contents are adapted into the first original work and in the process of the second adaptation the plan that can strengthen and expand the element of storytelling that occurred in the process of the first adaptation was let known. Finally faction contents are recognized in the present context thoroughly and therefore have the same way with works that participate in the reality which are one of the characteristics of Korean movies. For this reason this paper presents the storytelling strategy through the principle of ‘double adaptation’ in a point other than ‘multiple adaptation’. In addition it has the purpose in studying the existing cases of this and also in presenting a strategic methodology of ‘double adaptation’. Faction contents make various interpretations of individuals by themselves and let us feel commercial possibility and attraction of movie in that we indirectly experience real stories or elements of real stories through movies.

참고자료

· 없음