뉴미디어와 역사의 상품화: <튜더스>의 사례 (History on TV: The Case of The Tudors)

서지정보

· 발행기관 : 한국영미문학교육학회
· 수록지 정보 : 영미문학교육 / 12권 / 2호 / 45 ~ 64페이지
· 저자명 : 김선형

초록

This article is an attempt to examine the way The Tudors, a recent hit multinational TV mini-series, exploits and eventually reduces history to nothing but a pretext to project the fantasies and desires of the contemporary mass audience. The mechanism involves a few important trends in the current globalized mass culture: the post-modern condition called 'the end of temporality,' as closely related to generic traits and conventions of TV narratives, and the technical innovations creating various new venues in the name of 'new media.' In discussing TV narratives, it is important to note that they are essentially commercial products and that the material conditions of production such as funding, distribution and program formats heavily influence the narrative content itself. The Tudors adopted a marketing strategy different from the usual network TV shows; it was first premiered on a membership-based cable channel and then got distributed through new venues such as the Internet and IPTV, while reaping considerable revenue from DVD sales. Its funding and production also involved multinational capital and talents. By means of the new media, The Tudors manages to get around the censorship that defines the network TV programs, notoriously generous on violence but very strict on sexual content. Under the circumstances, it is noteworthy that The Tudors marked nostalgia and pornography as its major selling points to transcend all localities and nationalities. The pornographic visual of The Tudors eventually reduces every complex thematic struggle of the early modern England into one general erotic power play. The Tudors represents history as a parallel universe devoid of time and change, charged only with replete sex drive, projecting the 21th century obsession of eternal youth and beauty. History in The Tudors is a spatialized matrix of the present, myth rather than history, all the more problematic for its naked fictionality.

영어초록

This article is an attempt to examine the way The Tudors, a recent hit multinational TV mini-series, exploits and eventually reduces history to nothing but a pretext to project the fantasies and desires of the contemporary mass audience. The mechanism involves a few important trends in the current globalized mass culture: the post-modern condition called 'the end of temporality,' as closely related to generic traits and conventions of TV narratives, and the technical innovations creating various new venues in the name of 'new media.' In discussing TV narratives, it is important to note that they are essentially commercial products and that the material conditions of production such as funding, distribution and program formats heavily influence the narrative content itself. The Tudors adopted a marketing strategy different from the usual network TV shows; it was first premiered on a membership-based cable channel and then got distributed through new venues such as the Internet and IPTV, while reaping considerable revenue from DVD sales. Its funding and production also involved multinational capital and talents. By means of the new media, The Tudors manages to get around the censorship that defines the network TV programs, notoriously generous on violence but very strict on sexual content. Under the circumstances, it is noteworthy that The Tudors marked nostalgia and pornography as its major selling points to transcend all localities and nationalities. The pornographic visual of The Tudors eventually reduces every complex thematic struggle of the early modern England into one general erotic power play. The Tudors represents history as a parallel universe devoid of time and change, charged only with replete sex drive, projecting the 21th century obsession of eternal youth and beauty. History in The Tudors is a spatialized matrix of the present, myth rather than history, all the more problematic for its naked fictionality.

참고자료

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