지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
'Comic scene' induces a laugh. TIle construction of a comic scene is mainly applying for the switch image by a resolution scene and a misunderstanding scene using gaze behind the scene in Lee Myung Se' s text. TIle switch image is a comedy strategy for provoking a laugh by going against the audience's expectation and common sense. Noel Carroll calls 'the switch image a formula for the arrangement of scenes in which images and narrative presented over the whole scenes revers audience's expectation through the next scene.' The switch image is applied for the scene of a runaway soldier's appearance in Lee ]ongse' s rehearsal in Gagman.
The process for bring on a laugh in the switch linage offers certain information in establish shots and a series of shots. The audience's expectation aroused by information suggested, then, goes forward surprising and laughing by the discordant conclusion of the final resolution shot. On the other hand, a misunderstanding scene is formed when the audience is standing over characters in terms of information in establish shots and a series of scenes. The first, Lee Myungse' s text displays the characteristic which constructs scenes of laughs via switch images and misunderstanding scenes.
The second, Lee's text expands the reality. The expansion of the reality bring on fantasy scenes. Fantasy is closed to individual's dream, because fantasy stays all. each individual' s reverie rather than will for improvement of the real. He is already supposed to say like this in the prologue of Gagman, his debut film, In his film, he displays the cinematic reality using cinematic tricks just like unfolding the world of dream in Lee jongse' s barbering.
Lee Myungse' s fantasy contributes to expand the reality by the cinematic language and the comic apparatus. His fantasy recalls implied desire and something treated as absence on the screen. He tries to compensate for lacking in traditional expressions of cinema with his film. The fundamental characteristic is that he enriches the part of which the existing trite cinematic language could not include on the frame. Here, Lee' text separates from realism and illusionism, and waits new calling regarding the stylistic dimension. He exhibits not only the expansion of the cinematic reality but also the development of the cinematic language. Lee s text is different form realism. Besides there would be surplus space if it is categorized in modernism. I cannot help calling it representation of cinematic fantasy. Another expansion of the reality is revealed by self-reflexivity. Self-reflexivity exposes the auteur's personal language all over the surface via the characters of the film, The technique of self-reflexivity is well relevant to Lee's film, and is a part of characteristics of Lee' s film as well.
The process for bring on a laugh in the switch linage offers certain information in establish shots and a series of shots. The audience's expectation aroused by information suggested, then, goes forward surprising and laughing by the discordant conclusion of the final resolution shot. On the other hand, a misunderstanding scene is formed when the audience is standing over characters in terms of information in establish shots and a series of scenes. The first, Lee Myungse' s text displays the characteristic which constructs scenes of laughs via switch images and misunderstanding scenes.
The second, Lee's text expands the reality. The expansion of the reality bring on fantasy scenes. Fantasy is closed to individual's dream, because fantasy stays all. each individual' s reverie rather than will for improvement of the real. He is already supposed to say like this in the prologue of Gagman, his debut film, In his film, he displays the cinematic reality using cinematic tricks just like unfolding the world of dream in Lee jongse' s barbering.
Lee Myungse' s fantasy contributes to expand the reality by the cinematic language and the comic apparatus. His fantasy recalls implied desire and something treated as absence on the screen. He tries to compensate for lacking in traditional expressions of cinema with his film. The fundamental characteristic is that he enriches the part of which the existing trite cinematic language could not include on the frame. Here, Lee' text separates from realism and illusionism, and waits new calling regarding the stylistic dimension. He exhibits not only the expansion of the cinematic reality but also the development of the cinematic language. Lee s text is different form realism. Besides there would be surplus space if it is categorized in modernism. I cannot help calling it representation of cinematic fantasy. Another expansion of the reality is revealed by self-reflexivity. Self-reflexivity exposes the auteur's personal language all over the surface via the characters of the film, The technique of self-reflexivity is well relevant to Lee's film, and is a part of characteristics of Lee' s film as well.
목차
1. 이명세라는 텍스트에 대한 평가
2. 웃기는 장면에서 영화적 시선
3. 환상성과 자기 반영성: 영화적 현실의 확장
4. 결론
참고문헌
Abstract
참고문헌 (0)
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