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
Screenplay, 〈Mother and a Guest〉 written by Im Hee Jae in 1961 was an adaptation from the novel, 〈Mother and a Guest〉 written by Ju Yo Sup in 1935. And the film, 〈Mother and a Guest〉 directed by Sin Sang Ok in 1961 could be an adaptation from the screenplay, 〈Mother and a Guest〉 written by Im Hee Jae. Because the changes of the film is no less than the transformations of the screenplay.
Purpose of this thesis is studying on the adaptation and three acts about the film, 〈Mother and a Guest〉. The notion of dividing screenplays into large segments called “acts” has been discussed previously, becomes germane when undertaking a study of dramatic tention. And for purpose of this thesis three acts are most suitable for articulating and executing dramatic tention. This is because when a character wants something, a guestion is implied: will the character get it or not? This is known as the dramatic question, and a question of necessity has three parts: the posing of the question, setup, the deliberation on the question, confrontation, and the answer of the question, resolution. The question need not have any more parts to the question, and is not complete with any less. the first act poses the question: will so-and-so get what he or she wants? The second act sees the playing out of the question, its “deliberation”, as the character works against difficulties to get it, and third act provides the answer. Dramatic tention thus thrusts audience attention into the future with the expectation of the answer to the question.
And this thesis analyzes the film, 〈Mother and a Guest〉 and this thesis do analyze the three acts of the film with five points: plot point1, Pinch1, Mid point, Pinch2 and plot point2. So this thesis do prove the film, 〈Mother and a Guest〉 well-made 3 acts with dramatic tention.
Purpose of this thesis is studying on the adaptation and three acts about the film, 〈Mother and a Guest〉. The notion of dividing screenplays into large segments called “acts” has been discussed previously, becomes germane when undertaking a study of dramatic tention. And for purpose of this thesis three acts are most suitable for articulating and executing dramatic tention. This is because when a character wants something, a guestion is implied: will the character get it or not? This is known as the dramatic question, and a question of necessity has three parts: the posing of the question, setup, the deliberation on the question, confrontation, and the answer of the question, resolution. The question need not have any more parts to the question, and is not complete with any less. the first act poses the question: will so-and-so get what he or she wants? The second act sees the playing out of the question, its “deliberation”, as the character works against difficulties to get it, and third act provides the answer. Dramatic tention thus thrusts audience attention into the future with the expectation of the answer to the question.
And this thesis analyzes the film, 〈Mother and a Guest〉 and this thesis do analyze the three acts of the film with five points: plot point1, Pinch1, Mid point, Pinch2 and plot point2. So this thesis do prove the film, 〈Mother and a Guest〉 well-made 3 acts with dramatic tention.
목차
1. 서론
2. 시나리오 각색과정에서의 변화
3. 연출과정에서의 수정과 각색
4. 3막 5초점의 완성
5. 결론
참고문헌
Abstract
참고문헌 (28)
참고문헌 신청
이 논문의 저자 정보
이 논문과 함께 이용한 논문
1960년대 한국 문예영화에 나타난 매체 전환의 구조와 의미 : 〈오발탄〉과 〈사랑방 손님과 어머니〉를 중심으로
박유희
한국수사학회 월례학술발표회
2006
.08
1960년대, 근대 소설의 영화적 재생산 양상과 그 의미
노지승
한국현대문학연구
2006
.12
1960년대 후반기 한국 패러디영화의 스토리텔링 분석 : 〈살살이 몰랐지〉와 〈당나귀 무법자〉를 중심으로
서곡숙
영화연구
2007
.04
1960년대 문예영화에 나타난 매체 전환의 구조와 의미 : <오발탄>과 <사랑방 손님과 어머니>를 중심으로
박유희
현대소설연구
2006
.12
식민지 조선의 발성영화 상영에 대한 역사적 연구
정종화
영화연구
2014
.03
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2014-688-002349629