장애 이론에 따른 미디어 프레임의 서사적 사용에 관한 연구 - Ian Bonhote과 Peter Ettedgui 연출의 다큐멘터리 [불사조, 비상하다] (원제: [Rising Phoenix])의 서사분석을 중심으로

Abstract

Persons with disabilities often suffer from social discrimination in labor, education, political participatio n and transportation. We find that their image is set in a certain style by the media. Various efforts h ave been made to improve this type of social perception, especially after the introduction of mass medi a. Some of those attempts, however, did not work very well because they unintendedly relied on distor ted images of these people, such as being melodramatic, or being a super-hero with savant syndrome, which is not as common as we are led to believe. In the worst case, they are often forced to have de sires in a way that society wants. Meanwhile, several studies have attempted to categorize disability m odels according to how the media perceives the disabled and analyze video contents in this framework. Researchers have attempted to track down how content in this area is produced through four models: the medical-limitation model, the medical-diversity model, the social-limitation model and the social-d iversity model according to certain media characteristics, such as whether the content appeared in film s, on TV and/or in internet videos. There studies enable us to discover the nature of each form of me dia and the limitations of each as well. Some studies successfully proposed desirable models for society. Here, we analyze the narrative structure of a documentary film, Rising Phoenix, produced by Ian Bonh ote and Peter Ettedgui in 2020 and by doing so examine how the aforementioned four frames work w ithin a film. We focus on how a certain frame transforms into another in the narrative structure, follo wing previous studies in which only one framework was found to exist in each set of contents. This a pproach can allow us to examine how disability models and media frames can work for narrative pur poses and provide directions for more advanced and desirable disability acceptance by the media.