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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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This study compares Yi Sŏnggu’s film (1968), The General’s Mustache with Yi ŏryŏng’s novel of the same title and discusses how the significance of the compositional factors are inserted and transformed in the conversion process of the medium. Previous studies have defined this film as a representative Korean modern film, pointing to its theme of “solitude of the modern man” and the “mise－en－abyme” as a structure of aesthetic resistance against the oppression of the times in the late 1960s. Remaining in the course of the previous studies, this paper analyzes specific scenes in depth and attempts to reveal that this film creates layers of meanings by employing two strategies — “excessive mise-en-scene” and “excessive narrative.”
Three parts that are most different from the original novel in terms of composition are examined. First, the opening scene best reveals the “excessive mise－en－scene” of this film. While visually displaying the death of Ch’ŏlhun, this scene provides countless evidences regarding Ch’ŏlhun’s cause of death, the ultimate question this film tries to answer. Full of a number of objective correlatives that represent Ch’ŏlhun’s psychological and emotional state, Ch’ŏlhun’s room is problematic in itself. But the camera’s dynamic movement and framing method that shows Ch’ŏlhun’s room becomes an important factor that makes up excessive mise－en－scene. Another scene that reveals excessive mise-en-scene is the scene that visualizes the second half of Ch’ŏlhun’s short story, “The General’s Mustache.” In this scene, Ch’ŏlhun’s voice is heard as a voice over, and an abstract painting that features eyes in primary colors is shown in an extreme close－up and track-in shots. The film also employs focusing－out, oblique angles, and paintings that swirl like a maelstrom to create an exaggerated scene, assigning surreal characteristics to the reality directed by a story within the film/story. In other words, the opening scene, which focuses on the camera’s energetic and tenacious movements, and the scene where Ch’ŏlhun’s short story “The General’s Mustache” is visualized in a nonpresentational manner are allegories and components of mise－en－abyme. Through excessive mise－en－scene, these scenes add layers of meaning to the semantic structure between the world the film paints through excessive mise－en－scene and the reality it directs.
Lastly, the ending sequence, where excessive narrative is revealed, is composed of four parts. The first of those scenes also appears in the novel, but the other three have been created and inserted only in the film. As each person offers his own opinion on Ch’ŏlhun’s death and his death becomes signified in different ways, the ending sequence seems to be a remnant of the narrative that has been inappropriately placed at the end of the film. It does not offer a conclusive and credible answer, and it even includes scenes that seem out of place in the flow of the narrative. However, the scenes that visualize and betray excessive narrative and the ending sequence made up of a combination of such scenes imbue layers of meanings to this film, reaching beyond the characteristic of a film in the mystery genre.
From this analysis, it is possible to state that the excessive narrative and images actively used in the film The General’s Mustache intensify and expand the main theme of this film, and that they also function as important factors contributing to its polyphonic nature.
Three parts that are most different from the original novel in terms of composition are examined. First, the opening scene best reveals the “excessive mise－en－scene” of this film. While visually displaying the death of Ch’ŏlhun, this scene provides countless evidences regarding Ch’ŏlhun’s cause of death, the ultimate question this film tries to answer. Full of a number of objective correlatives that represent Ch’ŏlhun’s psychological and emotional state, Ch’ŏlhun’s room is problematic in itself. But the camera’s dynamic movement and framing method that shows Ch’ŏlhun’s room becomes an important factor that makes up excessive mise－en－scene. Another scene that reveals excessive mise-en-scene is the scene that visualizes the second half of Ch’ŏlhun’s short story, “The General’s Mustache.” In this scene, Ch’ŏlhun’s voice is heard as a voice over, and an abstract painting that features eyes in primary colors is shown in an extreme close－up and track-in shots. The film also employs focusing－out, oblique angles, and paintings that swirl like a maelstrom to create an exaggerated scene, assigning surreal characteristics to the reality directed by a story within the film/story. In other words, the opening scene, which focuses on the camera’s energetic and tenacious movements, and the scene where Ch’ŏlhun’s short story “The General’s Mustache” is visualized in a nonpresentational manner are allegories and components of mise－en－abyme. Through excessive mise－en－scene, these scenes add layers of meaning to the semantic structure between the world the film paints through excessive mise－en－scene and the reality it directs.
Lastly, the ending sequence, where excessive narrative is revealed, is composed of four parts. The first of those scenes also appears in the novel, but the other three have been created and inserted only in the film. As each person offers his own opinion on Ch’ŏlhun’s death and his death becomes signified in different ways, the ending sequence seems to be a remnant of the narrative that has been inappropriately placed at the end of the film. It does not offer a conclusive and credible answer, and it even includes scenes that seem out of place in the flow of the narrative. However, the scenes that visualize and betray excessive narrative and the ending sequence made up of a combination of such scenes imbue layers of meanings to this film, reaching beyond the characteristic of a film in the mystery genre.
From this analysis, it is possible to state that the excessive narrative and images actively used in the film The General’s Mustache intensify and expand the main theme of this film, and that they also function as important factors contributing to its polyphonic nature.
목차
1. 들어가며
2. 미장센의 과잉과 지연되는 질문
3. 서사의 과잉과 지연되는 대답
4. <장군의 수염>, ‘멜로드라마적’ 양식을 통해 구축되는 ‘모더니즘적’ 미학
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UCI(KEPA) : I410-ECN-0101-2017-810-001337936