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
This study’s aim is to analyse 〈Thirst〉(2009) by Chan Wook Park, who has drawed worldwide attention with the film 〈Oldboy〉(2003). The previous studies on Park’s works are focused on theme-analyse, so good and evil, desire and celibacy, and guilty conscience.
But the film forms, namely filmic apparatuses, that make this themes on his works apparent, have been neglected by the film studies. In other words, there is no attempt to analyse concrete images and frames or mise-en-scene, that realize those characteristic themes by Park. The theme-biased study on Park’s works ist not an exception for 〈Thirst〉, a story of ‘vampire of violent passions’, that portrays the equal question on original sin and rescue of human.
Therefore, this study attempts to approach Park’s film from the perspective of style and visual analyse. The keyword is here ‘film blanc’, that Thomas Elsaesser suggested as an extension of the term ‘film noir’. Because 〈Thirst〉 performs the specific theme of acute conflict between releasing of desire and self-repressing with the surrealistic white (also ‘blanc’) images and mise-en-scene.
So, this work tries to develop the concept of ‘film blanc’ and to apply it to analysing the form by 〈Thirst〉. This will offer proof, that the term ‘film blanc’ is effective to represent the theme of film, thus corruption of human being and absence of soul.
But the film forms, namely filmic apparatuses, that make this themes on his works apparent, have been neglected by the film studies. In other words, there is no attempt to analyse concrete images and frames or mise-en-scene, that realize those characteristic themes by Park. The theme-biased study on Park’s works ist not an exception for 〈Thirst〉, a story of ‘vampire of violent passions’, that portrays the equal question on original sin and rescue of human.
Therefore, this study attempts to approach Park’s film from the perspective of style and visual analyse. The keyword is here ‘film blanc’, that Thomas Elsaesser suggested as an extension of the term ‘film noir’. Because 〈Thirst〉 performs the specific theme of acute conflict between releasing of desire and self-repressing with the surrealistic white (also ‘blanc’) images and mise-en-scene.
So, this work tries to develop the concept of ‘film blanc’ and to apply it to analysing the form by 〈Thirst〉. This will offer proof, that the term ‘film blanc’ is effective to represent the theme of film, thus corruption of human being and absence of soul.
목차
1. 들어가는 말
2. 필름 블랑크(film blanc)
3. 〈박쥐〉
4. 마치는 말
참고문헌
Abstract
참고문헌 (1)
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UCI(KEPA) : I410-ECN-0101-2013-600-000423993