KCI등재
장편 극영화 <미인도>의 팩션 장르 구현 전략 = The Portrait of a Beauty and the Strategies for Realizing a Faction Genre
저자
전윤수 (아주대학교)
발행기관
학술지명
권호사항
발행연도
2010
작성언어
Korean
주제어
등재정보
KCI등재
자료형태
학술저널
수록면
779-809(31쪽)
KCI 피인용횟수
0
제공처
The Portrait of a Beauty presents a story of Shin Yun-bok, who was considered the best painter of a genre painting in the late Joseon Dynasty but mysteriously disappeared in history, leaving only a few lines in Geunyeokseohwajing. Shin Yun-bok expressed his emotion most frankly about women’s sex and sexuality, and tried to liberate them in his genre paintings, and further argued that women’s sexuality was primordially free and natural. His painterly flair and creative mind in the strictly Confucian society is stimulating and inspiring for contemporary creative artists such as filmmakers. Particularly significant during the process of writing the script of The Portrait of a Beauty is the growing concern for the boundaries between fact and fiction and consequent understanding that fiction gives a new interpretation to the historical characters and their paintings. The creative artists, as well as the audience, become productive and interpretive consumers and are drawn to the sense of reality the faction genre delivers regardless of its fictionality. The Portrait of a Beauty combines fact and fiction in a distinctive way: historical fact is made into fiction whereas fiction is represented as historical fact. Its object is not a mere representation of the historical characters; it purposively reconstructs the possible stories of Shin Yun-bok and her master Kim Hong-do to create a history for film, instead of a film for history. Faction is a genre of info-tainment where the sources of information and entertainment reside together. When combined with the creative artists’ imagination, Shin Yun-bok’s genre paintings serve both as an archive of factual information and the object of public entertainment. The Portrait of a Beauty makes some important attempts to realize the paintings into a faction genre: the establishment of conflictual relationships among characters and the application of Hyewon-jeonshincheop, a historical document Shin Yun-bok left, to fiction. In realizing the faction genre, the paintings by Danwon (Kim Hong-do) and Hyewon (Shin Yun-bok) greatly enhance the credibility of the story as well as state-of-art auditory and visual technologies available in the film industry.
The balance between historical consciousness and a new fictional vision towards history is important for the creative writers in creating a faction genre and for the audience in appreciating it. The creative writers and the audience are the important subjects that make the faction genre viable and flourish with diverse formats and sub-genres.
The Portrait of a Beauty presents a story of Shin Yun-bok, who was considered the best painter of a genre painting in the late Joseon Dynasty but mysteriously disappeared in history, leaving only a few lines in Geunyeokseohwajing. Shin Yun-bok expressed his emotion most frankly about women’s sex and sexuality, and tried to liberate them in his genre paintings, and further argued that women’s sexuality was primordially free and natural. His painterly flair and creative mind in the strictly Confucian society is stimulating and inspiring for contemporary creative artists such as filmmakers. Particularly significant during the process of writing the script of The Portrait of a Beauty is the growing concern for the boundaries between fact and fiction and consequent understanding that fiction gives a new interpretation to the historical characters and their paintings. The creative artists, as well as the audience, become productive and interpretive consumers and are drawn to the sense of reality the faction genre delivers regardless of its fictionality. The Portrait of a Beauty combines fact and fiction in a distinctive way: historical fact is made into fiction whereas fiction is represented as historical fact. Its object is not a mere representation of the historical characters; it purposively reconstructs the possible stories of Shin Yun-bok and her master Kim Hong-do to create a history for film, instead of a film for history. Faction is a genre of info-tainment where the sources of information and entertainment reside together. When combined with the creative artists’ imagination, Shin Yun-bok’s genre paintings serve both as an archive of factual information and the object of public entertainment. The Portrait of a Beauty makes some important attempts to realize the paintings into a faction genre: the establishment of conflictual relationships among characters and the application of Hyewon-jeonshincheop, a historical document Shin Yun-bok left, to fiction. In realizing the faction genre, the paintings by Danwon (Kim Hong-do) and Hyewon (Shin Yun-bok) greatly enhance the credibility of the story as well as state-of-art auditory and visual technologies available in the film industry.
The balance between historical consciousness and a new fictional vision towards history is important for the creative writers in creating a faction genre and for the audience in appreciating it. The creative writers and the audience are the important subjects that make the faction genre viable and flourish with diverse formats and sub-genres.
분석정보
연월일 | 이력구분 | 이력상세 | 등재구분 |
---|---|---|---|
2026 | 평가예정 | 재인증평가 신청대상 (재인증) | |
2020-01-01 | 평가 | 등재학술지 유지 (재인증) | KCI등재 |
2019-08-06 | 학회명변경 | 영문명 : Korean Association Of Literature And Film -> The Korean Association Of Literature and Film | KCI등재 |
2017-01-01 | 평가 | 등재학술지 유지 (계속평가) | KCI등재 |
2013-01-01 | 평가 | 등재학술지 유지 (등재유지) | KCI등재 |
2010-01-01 | 평가 | 등재학술지 유지 (등재유지) | KCI등재 |
2008-01-01 | 평가 | 등재학술지 유지 (등재유지) | KCI등재 |
2005-01-01 | 평가 | 등재학술지 선정 (등재후보2차) | KCI등재 |
2004-01-01 | 평가 | 등재후보 1차 PASS (등재후보1차) | KCI후보 |
2003-01-01 | 평가 | 등재후보학술지 선정 (신규평가) | KCI후보 |
기준연도 | WOS-KCI 통합IF(2년) | KCIF(2년) | KCIF(3년) |
---|---|---|---|
2016 | 0.17 | 0.17 | 0.2 |
KCIF(4년) | KCIF(5년) | 중심성지수(3년) | 즉시성지수 |
0.23 | 0.26 | 0.491 | 0.04 |
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