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21세기 미디어문화는 지속적인 발전가능 방안을 모색하기 위해 다양한 플랫폼시도를 계속하고 있다. 이때 중점적으로 차용되는 도구는 스토리텔링으로, 이는 대표적 미디어콘텐츠인 영화에서도 핵심적인 부분을 차지한다. 본고는 영화 <엑스맨> 시리즈 9편의 ‘스토리텔링 향유구조’를 심층적으로 분석하였다. 이 분석은 ‘향유요소’, ‘향유방식’ 그리고 ‘향유의미’라는 3가지 요소를 바탕으로했다. 그리고 이 3가지 요소가 종합적으로 결합되었을 때, 시리즈 전체에 걸쳐 반복되지만 단일한 트랜스미디어 스토리텔링의 향유구조를 형성한다는 결과를 도출해냈다. 이는 ‘서사와 캐릭터’, 관객에게 공급되고 수용되는 ‘과정’ 그리고 소비자에게해석되고 재생산되는 ‘가치’의 구조를 확인하는 과정이었다. 연구 방법으로는 세 단계의 접근을 시도했다. 첫째, 서사와 캐릭터가 향유요소로작용되는지를 검토했고, 둘째, 스토리텔링의 향유요소가 영화 콘텐츠가 대중에게공급·수용되는 관계를 미시적·거시적으로 분석했으며, 셋째, <엑스맨> 시리즈가 스토리텔링을 통해 향유의미를 재생산하는가를 분석했다. 이러한 방법을 통해 <엑스맨> 시리즈가 ‘향유요소’, ‘향유방식’, ‘향유의미’의 결합을 통해 스토리텔링의 ‘향유구조’를 성취하는가를 총체적으로 고찰했다. 2000년부터 2017년까지 <엑스맨> 스토리텔링은 헐리우드식 슈퍼히어로에서 과도기적 인간상으로 변화하였다. 서사 안에서 캐릭터와 배우 모두 미디어사회에서향유요소로, 비인간적인 슈퍼히어로를 선호했던 장르관객은 점차 인간적인 죽음을향유하는 대중으로 성장하였다. 이에 의해 ‘슈퍼히어로(superhero)’, ‘돌연변이(mutant)’는 ‘트랜스휴먼(transhuman)’, ‘제노포비아(xenophobia)’의 향유의미로 재생산되고 영화는 향유구조에 의한 미디어문화로 폭넓게 향유되었다. 따라서영화 <엑스맨> 시리즈는 뚜렷한 스토리텔링의 향유구조를 명확히 가지는 문화콘텐츠라 할 수 있다.
The media culture of the 21st century has continued making attempts of various platforms in order to seek ways for possible continuous development. The tool mainly utilized in this process is storytelling; this occupies a core part in the movies, the typical media contents. This article analyzed ‘the enjoyment structure of transmedia storytelling’ on 9 series of the movie <X-Man> in depth. This analysis was based on three factors: ‘enjoyment factors’, ‘enjoyment methods’, and ‘significance of enjoyment’. The result, which states that when these three factors are comprehensively combined even though the storytelling is repeated throughout the entire series, a single enjoyment structure of storytelling is formed, has been deduced. This was a ‘description and characters’, ‘a process’ of supplying to the audience and being accepted by the audience, and a process of confirming the structure of ‘the value’ that is interpreted and reproduced by consumers. Three-step approach was attempted as a research method; first, the description and characters were examined to figure out if those function as enjoyment factors; second, the effect that enjoyment factors of storytelling has on the supply and acceptance relationship between movie contents and audiences was microscopically and macroscopically analyzed; third, whether the ‘X-Man’ series reproduces the significance of enjoyment through storytelling was analyzed. Through this approach, whether the ‘enjoyment structure’ was achieved through the combination of ‘enjoyment factor’, ‘enjoyment method’, and ‘the significance of enjoyment’ in <X-Man> series was contemplated on collectively. From 2000 to 2017, the storytelling of <X-Man> has changed from a Hollywood superhero to a transitional human character. In the description, both the characters and the actors have grown from media society to enjoyment factors; and the audience who preferred inhuman super hero has gradually grown into the audience who enjoys human-like death. On the other hand, the significance of enjoyment of ‘superhero’, ‘mutant’, ‘xenophobia’, and ‘transhuman’ has been reproduced and enjoyed widely as a media culture. Therefore, the movie <X-Man> series can be referred to as cultural contents that distinctively possess a clear enjoyment structure of storytelling.
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X-Man, enjoyment, storytelling, transmedia storytelling, media culture, cultural contents
