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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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This paper considers Pinter’s cinematic techniques in his modifications of the Kafka’s original novel for the purpose of cinematic transliteration of the elements in his political plays through an analysis of Harold Pinter’s screenplay, The Trial. In his comedies of menace, Pinter deals with the theme of dominance and subservience, and while developing the theme, he emphasizes the symbolic aspects of the key concept, “room” and the conflict between its occupant and invader.
In his late political plays and this screenplay, Pinter emphasizes individuals being suppressed by surveillance from violent authorities and facing the menace of authority in search of the possibility of a line of flight from the catastrophic situation. In The Trial, Pinter focuses on the main character, Joseph K., who revolts against the violent and absurd law enforced by depraved and obscene authorities. The screenplay presents Joseph K., who is being watched and arrested for an unknown cause, as an individual who finally forms his political realization and takes a determinate action to search for a line of flight.
Pinter’s The Trial reflects all his cinematic experiments and co-related concerns of politics and cinema. The screenplay also anticipates his late political plays such as Moonlight, Ashes to Ashes, and Celebration. Thus it can be regarded as an important transitional work toward Pinteresque political plays.
In his late political plays and this screenplay, Pinter emphasizes individuals being suppressed by surveillance from violent authorities and facing the menace of authority in search of the possibility of a line of flight from the catastrophic situation. In The Trial, Pinter focuses on the main character, Joseph K., who revolts against the violent and absurd law enforced by depraved and obscene authorities. The screenplay presents Joseph K., who is being watched and arrested for an unknown cause, as an individual who finally forms his political realization and takes a determinate action to search for a line of flight.
Pinter’s The Trial reflects all his cinematic experiments and co-related concerns of politics and cinema. The screenplay also anticipates his late political plays such as Moonlight, Ashes to Ashes, and Celebration. Thus it can be regarded as an important transitional work toward Pinteresque political plays.
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Abstract
참고문헌 (21)
참고문헌 신청
1. [학술지(정기간행물)] - 정문영 / 2011 / 극작가의 스크린-플레이: 핀터의 <하인> / 현대영미드라마 24 (1) : 29 ~ 56
2. [학술지(정기간행물)] - 정문영 / 2004 / 핀터의 정치극과 성의 정치성 / 영미문학페미니즘 12 (1) : 177 ~ 203
3. [단행본] - 정문영 / 2010 / 해롤드 핀터의 정치성과 성정치성 / 서울대학교출판문화원
4. [학술지(정기간행물)] - 황훈성 / 2001 / 해롤드 핀터 후기극의 정치성: 파티시간, 달빛, 재에서 재로의 서술적 재현기법 연구 / 영어영문학 47 (1) : 291 ~ 308
5. [단행본] - Armstrong, Raymond / 1999 / Kafka and Pinter Shadow-Boxing : The Struggle between Father and Son / St. Martin’s Press
2. [학술지(정기간행물)] - 정문영 / 2004 / 핀터의 정치극과 성의 정치성 / 영미문학페미니즘 12 (1) : 177 ~ 203
3. [단행본] - 정문영 / 2010 / 해롤드 핀터의 정치성과 성정치성 / 서울대학교출판문화원
4. [학술지(정기간행물)] - 황훈성 / 2001 / 해롤드 핀터 후기극의 정치성: 파티시간, 달빛, 재에서 재로의 서술적 재현기법 연구 / 영어영문학 47 (1) : 291 ~ 308
5. [단행본] - Armstrong, Raymond / 1999 / Kafka and Pinter Shadow-Boxing : The Struggle between Father and Son / St. Martin’s Press
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UCI(KEPA) : I410-ECN-0101-2015-840-002618985