TV 다큐멘터리의 영상 구성 요소와 화면 분석

Abstract

and photographs it and edits it and shapes it. It attempts to give form and pattern to the complex of direct observation. The roots of documentary are in what can be called “reality”. However, actuality is submitted to the creativity of the program director, who manipulates it through more or less deliberate processes of selection and association, in order to go beyond the boundaries of direct observation, and to give it a precise meaning. This study focuses on applied media aesthetics factors in TV Documentary based on Zettl’s theory. Zettl’s theory suggests the major aesthetic image elements— light and color, space, time/motion, and sound— and how they are used in media. These elements are discussed in the context of the ve principal aesthetic fields: light and color, two-dimensional space, three-dimensional space, time/motion, and sound. This organization allows us to scrutinize each individual aesthetic element while at the same time maintaining an overview of how they all interact contextually. In e ect, it gives us how to apply the major aesthetic elements to manipulate people’s perceptions. Applied media aesthetics places great importance on the in uence of the medium on the message. The medium itself acts as an integral structural agent. And, these aesthetic factors enable television directors to generate various kinds of emotional responses in the viewers particular notions about the nature of reality. Documentaries have often been the site of notable aesthetic trial. Sometimes these were the consequences of technological invention. The new video technology, which lets us produce high-quality images and sound, puts more pressure on us to match this technical quality with equally high aesthetic standards.