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자료유형
학술저널
저자정보
노철환 (강원대)
저널정보
한국영화학회 영화연구 영화연구 59호
발행연도
2014.3
수록면
63 - 96 (34page)

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초록· 키워드

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It is possible to figure out indirectly how a director has used the cameras through the images shown in a film. This study which is related to the camera is begun as a reinterpretation of Lasswell’s Communication Model (5W) : Who / Say What / In Which Channel / To Whom / With What Effect. We try to answer this key question : “How does the director expresses his intention to the spectators through the camera?”
We define the films that have the following characteristics as the film sur le film, film on film in English: a fiction film, a film directed by the ‘auteur’, treatment of the process of the film production, presentation of the film dans le film, film in film in English, and the existence of director’s reflexive character. To respond the key question, we analyze 8 ½ (1963) by Federico Fellini which is his first film sur le film.
8 ½ has one of the most complex narratives in the film history. Christian Metz named it as a ‘twice double layered film.’ In particular, interpretations on the last sequence of the film which is really very stubborn in its decomposition, are still divided. The most controversial point is whether Guido directed the film or pretended to shoot it. Although many scholars have tried to unveil the secrets of this sequence, still there was no clear interpretation in the past 60 years. For example Metz said, “8 ½, we do not even see Guido was shooting this film…” However, We don’t agree to his contention.
Our hypothesis as follows: “If we found some cameras taking the shot and the shot filmed by them, then we would finally have validated Guido’s action as the direction of the film.” To prove this hypothesis, we introduce another notion, film dans le film : a part of film sur le film, its independent narrative, the exposure of the scene of production or of projection, the existence of filming camera, etc.
After all possible checks, we propose a redefinition of the narrative structure of 8 ½. With this study we want to suggest a new method of film analysis to approach the director’s intention.

목차

1. 서론
2. 〈8½〉의 내러티브구조
3. 새로운 개념의 도입 : 영화에 대한 영화/영화 속 영화
4. 마지막 시퀀스 분석 : 쇼트 768-773
5. 내러티브 구조의 재구성
6. 결론
참고문헌
Abstract

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