The documentary film has been accepted in the past as a genre, that should possess the marginal position in the cinematheque or night program of the TV. Because the spectators have avoided the documentary film on the grounds, that the enlightening intention and the social critical viewpoint of the film are excessively educative or just boring. But some documentary films recently appear, that are playing in mainstream theaters and get even a commercial success. This new status of documentary film can be founded in the german cinema. The most proper example for this is <Full Metal Villiage> (2007) by Sung-Hyung Cho, korean women director, who lives as an immigrant in germany. This film shows ‘Wacken’, a small village in the north of germany, and the story focuses on the ‘Wacken Open Air’, the most popular heavy metal concert worldwide. But this film is not a report on heavy metal music, this is a documentary about cultural tradition of a ‘good petit bourgeois’ and beauty of the country. And this documentary film is about the gaze of a stranger, that stands to the cultural coexistence after the collision between folksy devicefulness and crazy music(-fans). This documentary film is above all interesting because the director, as can be seen in the intro, define her work as a ‘Heimatfilm’. But the ‘Heimatfilm’ belongs to the typical fiction genre, not to the documentary genre. Therefore this film should be studied in the point of view, how it in process of asking about cultural identity discloses the identity of the documentary genre, and how it in procedure of describing of the coexistence of traditional culture and counterculture tries an alternative approaching to the documentary genre. Thus the director, Sung-Hyung Cho, suggests whit her work an alternative from the perspective of expansion of documentary genre definition.
1. 들어가는 말
2. 선행연구
3. 향토영화(Heimatfilm)와 다큐멘터리
4. 다큐멘터리와 서사구조로서의 플롯
5. 〈풀 메탈 빌리지〉의 목소리 - 다이렉트 시네마와 시네마 베리테의 평행편집
6. 문화적 충돌을 향한 시선의 틀
7. 성찰적 다큐멘터리
7. 마치는 말
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