영화교육 패러다임 연구 : -포스트모더니즘 시대의 문화예술교육을 중심으로-

서지정보

· 발행기관 : 한국문화예술교육학회
· 수록지 정보 : 모드니 예술 / 4호
· 저자명 : 황보성진

목차

Ⅰ. 서 론
Ⅱ. 21세기, 예술교육에서 문화예술교육으로의 변모
Ⅲ. 문화예술교육으로서 영화교육의 역사와 정의
Ⅳ. 문화예술교육으로써 영화교육의 특성
Ⅴ. 포스트모더니즘 시대의 영화교육
Ⅵ. 결 론

영어초록

Film education for those who did not major in film fundamentally started in 2004 through the “culture
and arts expert instructor pool system” business that started when discussions about culture and arts
education as part of a national arts policy surfaced. However, film education has simply become a business that produces arts instructors because it started without education theory or an education curriculum for
those who did not major in the field unlike other genres like plays, dance or traditional music, and has
failed to establish a frame for systematic film education.
However, through popularization of digital images anyone can easily use and the term “UCC” becoming
a new icon in our society, film education is rapidly developing in schools and society together with the
awareness that film education is a field that suits the age of image in the 21st century. Therefore,
research on film education theory and programs is more urgent than ever.
Therefore, this study aimed to start by organizing the terms “film education” and “image media
education” which we are currently using together, to correspond with the goals of education, before
discussing the new paradigm of film education. Of course the two terms are both image education in a
comprehensive sense based on experience of diverse image production and sensitivity to those who did not
major in the field, but the difference between the two is that the former aims for arts education that
focuses on sensitivity, and the latter aims for media education that develops a critical view on the media.
However, film education is fundamentally education that focuses on films. Film is a comprehensive art
that contains all the arts, and has provided vast audiences with enjoyment from its birth and early stages,
and plays the role of helping the audience forget about reality for a little while and have hopes and
dreams. Therefore, the aim of film education is to combine such characteristics of film and arts education
theory, help those who did not major in film to experience the emotions of film and directly experience
the film-making process, and develop abilities such as creativity, expression abilities and communication
abilities.
This film education conducted of a variety of different groups from children to senior citizens were
divided into 5 categories in this study according to needs and characteristics -- sensitivity education,
creativity education, character education, healing education, cultural enjoyment education -- and the
education effects of the film production process were also analyzed through actual cases. The results
presented the need for film education to overcome the contradiction of having produced film art instructors
without proper education theory, and re-establish a paradigm of film education as a form of 21st century
culture and arts education for a variety of different students in this age, regardless of age or gender.
Therefore, film education needs to break away from the existing class method of filming just film and
teaching according to the same curriculum as those majoring in film in university, and change into a
method where students can accept the film making process as a sort of game while experiencing and
enjoying a variety of different arts and cultures. Through this method, film education must aim away from
function-focused education where students create film with great perfection, but aim for classes where
students can enjoy the process together and feel a sense of accomplishment about their final works. In addition, popular culture and new cultures of the digital age that have been disregarded in the world of
education must boldly be combined with film education for sublimation to a comprehensive curriculum and
comprehensive arts education. In other words, a new paradigm for film education must be established in
the future which breaks away from modernism arts education that places importance on a piece or the
creator, and aims for postmodernism arts education where participants enjoy the arts and consider it a sort
of game they can enjoy.
Now is the time to recognize that film education is not “education for film” but “education through
film” and change into education students of all generations can enjoy. Through this recognition, we should
focus on research and development of much more programs focusing on the paradigm of film education as
a postmodernist form of culture and arts education that trains subjects of new creation who can enjoy film
culture, and development of film education as a healthy form of education that provides satisfying
catharsis.

참고자료

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