대안적 방식의 극영화 제작 워크숍 수업모델에 대한 이론적 고찰

A Theoretical Analysis of Alternative Fiction Film Production Workshop Model: Part 1: Focusing on the Frame of a Moving Image

‘I was only combining time and space, but from that moment on I was pressed into telling stories,’ explained German director Wim Wenders. An understanding of spatial and temporal setting and its effect on the narrative of a film is essential for the filmmaker. And his or her cinematic vision should be expressed in the form of an image and sound throughout the process of filming. This article examines the components of what should be taught in the context of the frame of a moving image through an introductory fiction film production workshop course. Based on the notion of spatial-temporal and audio-visual aesthetics, it requires consideration from various perspectives of the frame; framing and its meaning, visual structure and composition which are culturally wrought and practised, fundamentals of narration in the frame and image sequencing project employed in visual storytelling. This article covers the basics of a pictorial and dramatic vision through an aesthetic contemplation on the basis of various film theories from the tradition of formalism to Deleuze. Ultimately, the goal of this study is to make students be well versed in the theory and practice of narrative film production from both aesthetic and technical perspectives.