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- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2008.8
- 수록면
- 33 - 54 (22page)
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Cultural theory in the twentieth-century has gained a general understanding that popular culture is also worth studying. Joseph Conrad, like his contemporary intellectuals, usually spoke contemptuously of film, saying it as “absolutely the lowest form of amusement.” Nevertheless, he has been one of the major British authors whose works have been frequently adapted to film art. Conrad's dialogue is dramatic in itself and his novel is “like a simple film with an elaborate commentary,” and so his stories are “ready-made for the cinema.”
In the adaptation of Conrad, it seems to be virtually impossible to preserve the ‘ironic commentary and the chronological complexity’ which are his novels’ characteristic. To represent his plots which are typically based on an unfeasible moral dilemma is also difficult. A clue to the filming of Conrad’s novel is that how it reveals ‘the invisible, non-personified narrator’ through the camera eye, who articulates ironic comments as the proxy for the author in the text. This paper explores two film versions of The Secret Agent, along with the dramatization of Conrad himself. The Secret Agent is the first urban novel of Conrad, which shows his marginality through the characters’ alienation.
Conrad was sceptical about his novel’s adaptation. He said, “To make an audience of comfortable, easy-going people sup on horrors is a hopeless enterprise.” Sabotage, adapted by Alfred Hitchcock in 1936, invokes one of the novel’s main themes: “the indeterminate nature of all action and the consequent difficulty in assigning blame.” However it failed to understand modern alienation and to penetrate revolutionary urban politics, so that it does not succeed in keeping pace with Conrad’s text. Christopher Hampton’s same titled adaptation of The Secret Agent in 1996 tried to revive the murky, muddy and phosphorescent streets of Dickensian London and to animate the imagery of the Imperial asphalt jungle. The players themselves act their roles earnestly in respect for the great author’s masterpiece, but in the film we lose Conrad’s own marginal perspective and his considerate narrative dynamic. Neither Sabotage nor The Secret Agent represents the innate marginality of this Polish immigrant writer, which is implied in the novel.
The intrinsic progressiveness of Conrad’s text makes possible for different Zeitgeists to intercommunicate with each other. His words are still persuasive in the twenty-first century. If the camera eye represents the invisible narrator of Conrad’s text, the audience can listen to his words in films, and further they will see the very marginality which overwhelms the centre of English literature by blurring boundaries.
In the adaptation of Conrad, it seems to be virtually impossible to preserve the ‘ironic commentary and the chronological complexity’ which are his novels’ characteristic. To represent his plots which are typically based on an unfeasible moral dilemma is also difficult. A clue to the filming of Conrad’s novel is that how it reveals ‘the invisible, non-personified narrator’ through the camera eye, who articulates ironic comments as the proxy for the author in the text. This paper explores two film versions of The Secret Agent, along with the dramatization of Conrad himself. The Secret Agent is the first urban novel of Conrad, which shows his marginality through the characters’ alienation.
Conrad was sceptical about his novel’s adaptation. He said, “To make an audience of comfortable, easy-going people sup on horrors is a hopeless enterprise.” Sabotage, adapted by Alfred Hitchcock in 1936, invokes one of the novel’s main themes: “the indeterminate nature of all action and the consequent difficulty in assigning blame.” However it failed to understand modern alienation and to penetrate revolutionary urban politics, so that it does not succeed in keeping pace with Conrad’s text. Christopher Hampton’s same titled adaptation of The Secret Agent in 1996 tried to revive the murky, muddy and phosphorescent streets of Dickensian London and to animate the imagery of the Imperial asphalt jungle. The players themselves act their roles earnestly in respect for the great author’s masterpiece, but in the film we lose Conrad’s own marginal perspective and his considerate narrative dynamic. Neither Sabotage nor The Secret Agent represents the innate marginality of this Polish immigrant writer, which is implied in the novel.
The intrinsic progressiveness of Conrad’s text makes possible for different Zeitgeists to intercommunicate with each other. His words are still persuasive in the twenty-first century. If the camera eye represents the invisible narrator of Conrad’s text, the audience can listen to his words in films, and further they will see the very marginality which overwhelms the centre of English literature by blurring boundaries.
목차
Ⅰ. 대중문화 또는 저변문화
Ⅱ. 『비밀요원』과 콘라드 작품의 극화
Ⅲ. 히치콕의 『사보타지』
Ⅳ. 햄튼의 『비밀요원』
Ⅴ. 재현해야 할 콘라드의 진보성
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