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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2003.6
- 수록면
- 451 - 471 (21page)
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Though Orson Welles has a precious love for Shakespeare, he re-creates and transforms Shakespeare's words to present a new text in the language of the cinema. A master of silver screen, Welles reconstructs the text to suit his own interpretation of the play and to form a cohesive whole.
The film begins with the upturned face of the dead Othello in the funeral procession and with Iago caged like an animal and winched upwards to the top of the walls. After this opening montage and Welles' own voice-over narration, creating a portrait of Othello's heroic world in disintegration, he flashes back to the previous action. From the beginning the contrast between Othello's ordered and heroic world and Iago's chaotic world is central to the film's use of cinematic language. While the film's grandeur and simplicity are the Othello's style, its dizzying perspectives, grotesque shadows and distortions are Iago's, Welles creates out of brilliant Italian and Moroccan settings an imaginary dramatic architecture to re-emphasize central dramatic tension between Othello's ordered world of Venice and Iago's chaotic world of Cyprus.
Visual images, including bars and cages, suggest confinement in order to indicate 'the trap motif' or claustrophobia, which is inherent in the play. Especially they emphasize Iago's web of his persuasion, restricting Othello's moral judgment until he is entrapped in the tomb of his own misperception. The film becomes darker and more enclosed, for Iago steals the light of the film just as he steals the lives of the characters of the play. When the final scene finds the 'trap motif' brought to fruition, Iago completely succeeds in creating a portrait of Othello's heroic world in disintegration. Iago completely triumphs over Othello, turning him into the opposite of his great former self.
The title character Othello possesses little tragic stature, for he is reduced to a jealous Peeping Tom of his own imagined nightmare by Iago's manipulation. The way in which Welles constructs the text visually in order to portray Iago's manipulation of Othello is the key interpretation of the film. Iago's satanic artistry is not unlike Welles' sporadic style in film-making. Though there was excessive preoccupation with cinematic technique, Welles adapts Shakespeare's text for cinematic purposes to show his unique interpretation of the play and a theatrical imagination that is potentially epoch-making.
The film begins with the upturned face of the dead Othello in the funeral procession and with Iago caged like an animal and winched upwards to the top of the walls. After this opening montage and Welles' own voice-over narration, creating a portrait of Othello's heroic world in disintegration, he flashes back to the previous action. From the beginning the contrast between Othello's ordered and heroic world and Iago's chaotic world is central to the film's use of cinematic language. While the film's grandeur and simplicity are the Othello's style, its dizzying perspectives, grotesque shadows and distortions are Iago's, Welles creates out of brilliant Italian and Moroccan settings an imaginary dramatic architecture to re-emphasize central dramatic tension between Othello's ordered world of Venice and Iago's chaotic world of Cyprus.
Visual images, including bars and cages, suggest confinement in order to indicate 'the trap motif' or claustrophobia, which is inherent in the play. Especially they emphasize Iago's web of his persuasion, restricting Othello's moral judgment until he is entrapped in the tomb of his own misperception. The film becomes darker and more enclosed, for Iago steals the light of the film just as he steals the lives of the characters of the play. When the final scene finds the 'trap motif' brought to fruition, Iago completely succeeds in creating a portrait of Othello's heroic world in disintegration. Iago completely triumphs over Othello, turning him into the opposite of his great former self.
The title character Othello possesses little tragic stature, for he is reduced to a jealous Peeping Tom of his own imagined nightmare by Iago's manipulation. The way in which Welles constructs the text visually in order to portray Iago's manipulation of Othello is the key interpretation of the film. Iago's satanic artistry is not unlike Welles' sporadic style in film-making. Though there was excessive preoccupation with cinematic technique, Welles adapts Shakespeare's text for cinematic purposes to show his unique interpretation of the play and a theatrical imagination that is potentially epoch-making.
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