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
The film Spring in the Korean Peninsula, made in March 1941 by Byungil Lee, is considered as “a wonder discovery” - its technical lapidary style stands out from other Korean films at ‘the time of slogan’ of the colonial period. Furthermore, the astonishing film music of Spring in the Korean Peninsula, in particular using the Leitmotiv (I call it “tragic love Leitmotiv”) functions, give obvious messages to screens which alone remain unclear.
This study addresses the understudied film music exploring a new possibility of interpreting this film. As result, the dual construction of the film can be apparently exposed: the first part deals with the production of the film “Chunhyanjon” (the film in the film) by the Korean filmmaker Huh, while the love story between two women and a man (Joenghee, Ana and Yongil) composes the second one. However, according the description of music, Ana becomes the key figure among them and has the function of combining the two different parts of Spring in the Korean Peninsula - she plays the Antipodean of the filmmaker Huh.
목차
등록된 정보가 없습니다.
참고문헌 (20)
참고문헌 신청
이 논문의 저자 정보
최근 본 자료
댓글(0)
0