버라이어티쇼 장르 변화에 관한 연구 : MBC <무한도전>을 중심으로
The study on the genre change of variety shows : mainly of MBC ‘Muhan Dojeon’ (meaning ‘infinite trials’ in Korean)
- 주제(키워드) 장르 , 버라이어티쇼 , 리얼버라이어티쇼
- 발행기관 서강대학교 일반대학원
- 지도교수 원용진
- 발행년도 2009
- 학위수여년월 2009. 2
- 학위명 석사
- 실제URI http://www.dcollection.net/handler/sogang/000000045107
- 본문언어 한국어
초록/요약
버라이어티쇼는 단연 다양함으로 정의할 수 있다. 토크를 중심으로 한 미국 버라이어티쇼의 영향 아래에서 탄생한 한국 버라이어티쇼는 이제 한국 예능 오락 프로그램에서 가장 중요한 장르로 손꼽히고 있다. 텔레비전 장르 간의 경계를 넘나들고 허무는 장르 간의 절합은 버라이어티쇼 장르에서 가장 빈번하고 적극적으로 나타나고 있다. 특히 최근 리얼리티쇼와 접목된 버라이어티쇼의 탄생은 한국 버라이어티쇼 장르의 새로운 성장 동력이 되고 있다. 텔레비전 장르는 장르적 관습만이 아니라 수용자의 기대와 산업적 전략이 공존하며 공진화한다. 버라이어티쇼 장르의 변화 과정을 분석하는 작업은 텔레비전 장르를 둘러싼 다양한 힘의 역학과 사회를 분석하는 작업이기도 하다. 본 논문은 민영 방송국이 등장, 다채널 시대로 접어든 1992년부터 버라이어티쇼 장르의 변화를 역사적으로 추적하고, 버라이어티쇼의 장르 전통 안에서 MBC <무한도전>을 분석한다.
more초록/요약
The fact that ‘Muhan Dojeon’, the real variety show, has recorded high audience rating, and has emerged as a new diverging point of variety show genre was a starting point of this study. This study is aimed at identifying how the Korean variety show genre, which began to flourish from 1992, has changed by ‘Muhan Dojeon’ which was first aired in 2006. The historicity of genre starts from the fact that genre is impossible to historically change because it is formed through convention and invention. Convention and invention are made through exchanges of effects or exercises of powers sometimes, among multiple bodies including broadcasting business, conventions of producing programs, viewers and society. This study shaped variety show genre from 1992 and found out what kind of structure of feeling variety show has had since then. Also, this study approached and analyzed the characteristics of ‘Muhan Dojeon’ as a real variety show in the form of discourse. This study seeks to take a look at the industries in ‘Muhan Dojeon’, the history of variety shows, viewers and critical discourse, and to understand the relations between the real variety show and the Korean society. To shape variety show genre, literature such as theses and magazine articles was researched. To discursive approach ‘Muhan Dojeon’, analysis on text, viewers of bulletin boards and interviews with the producer were done. Here are analysis results. There have been four types of variety shows in Korea since1992. First, ‘group variety show’ was in fashion from 1992 to 1998, when Korean government asked a relief loan to IMF. That was a change from show programs mainly focused on Korean pop music since 1961, when broadcasters started TV programs, to current form of multiple setting show programs including talk, games, music, and quiz. The variety shows at the time were not similar in contents, but the number of shows was large and there were many hosts and various sections in a show. From 1998 to 2002, ‘problem resolution variety show’ flourished. These shows were similar with the ‘group variety show’ in that a show had various corners and many hosts because each corner has different host. However, unlike ‘group variety show’, these were mainly focused on public interest and consolation by resolving economic problems of ordinary people. From 2002 to 2006, there was ‘entertainer survival variety show’. These were combination of reality show, which had huge popularity across the world, and game show factors such as competition, elimination and application of viewer’s opinion in the shows. But, entertainer management strategy and failure of reality show starring ordinary people made Korean shows ‘entertainer survival variety shows’ unlike overseas reality shows starring non-celebrities. The structure of feeling of these shows was competition and survival strategy. After 2006’s ‘Muhan Dojeon’, real variety shows come in. This study concluded that the characteristic of this show is increased uncertainty, text mutuality, and boundary breakdown between private and official things. Increased uncertainty through fragment factors and fortuity, text mutuality going beyond the expectation and the invasion into privacy of entertainers made viewers feel real and fresh. Even if these factors were incidentally exposed at first, viewers responded positively and producers strengthened these factors accordingly. The positioning process of ‘Muhan Dojeon’ as a real variety show leads to the next question “what is real?” That is about what factors viewers recognize as real and how the factors are related to Korean society since 2006. This study concluded that ‘Muhan Dojeon’ reveals uncertain reality and recreational daily life of our society where has had increased uncertainty caused by economic changes, widening gap between the rich and poor and collapse of the middle-income class since the 1998 IMF bailout.
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