1960년대 유럽 모더니즘 영화의 반환영주의와 관극성 연구

기본 정보

본제목

1960년대 유럽 모더니즘 영화의 반환영주의와 관극성 연구

부제목

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대등제목

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국가구분

국내

생산일자

2001-**-**

언어

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크기(mm)

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페이지

85

ISBN/ISSN

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판차

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마스터파일

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생산자

박인영 (청주대학교 대학원 연극영화학과 석사 논문 저자)

내용

(논문요약)[목적] 본 논문은 60년대 유럽 모더니즘 영화가 그 이전에 이루어졌던 전통적이고 관습적인 영화제작에 맞서 스스로를 차별화시키는 본질을 반환영주의로 파악하고 이를 살펴본다. 또한 이 같은 반환영주의적 본질이 관객의 관람경험에 어떠한 변화를 일으켰는가도 연구목표로 하고 있다. (영문초록)[영문초록]Resisting the conventional tradition, the European modernist cinema in the 1960s offered a new artistic approach like the modernist movements in the early twenty century did. The development of the modernist cinema has been different from that of the other art spheres. The modernist movement in literature, music, painting, and architecture reached its highest point in the early twenty century. On the contrary, the art form of film was just being born at that time. And film art established the normative codes and conventions, and found the way of developing as the realistic art with fidelity to the real. But, behind the superficial history of film art, the efforts which should make the film art not 'art as a representation' but 'art as a expression' went on. That is, starting with the avant-garde films in the 1920s, through the montage film in Russia, deep focus of Jean Renoir, and Italian Neo Realism, cinema modernism reached a climax in the work of the national cinemas in the 1960s. The modernist cinema exposes the illusory quality of the classic Hollywood cinema which has been established as the universal aesthetic system in film markets all over the world. The modernist film-makers such as Michelangelo Antonioni, Jean-Luc Godard, Alain Renais whom I've studied in this treatise have been looking for the relationship between film and the reality. They created outstanding screen achievements catching the ambiguity of the real instead of the narration of classic cinema in which other film-makers preserved the continuity of the real physical world with a conventional chronological. As a result, the privileged status of narrative which was kept up in classic cinema was denied in their films and image and time which had previously been subordinate were given importance. Also through the reflexive strategy revealing the procedure of film production, they offered a new spectatorship which involves not just passive indulgence but active thinking. Instead of merely offering emotional and sentimental indulgence, they challenged the viewer to take part subjectively in the film, thinking actively at a certain distance. This new style of film-making was not well received by audiences who were comfortable with conventional cinema. But it can not be denied that the recognition of the unique value of film art beyond its infancy as a new-born art is an achievement of modernist cinema. So the modernist cinema will have a great influence on the development of the film art which is situated between the democratization and vulgarization of art.

목차

목차

국문목차 제1장 서론 = 1 제1절 연구 목적 및 방법 = 1 제2절 연구 범위 = 4 제2장 모더니즘 영화에 대한 이해 = 9 제1절 예술사조로서의 모더니즘 = 9 제2절 영화와 모더니즘 = 16 제3절 모더니즘 영화의 전개 과정 -아방가르드에서 누벨바그까지- = 20 제3장 60년대 유럽 모더니즘 영화의 반환영주의 = 33 제1절 미켈란젤로 안토니오니의 모호한 이미지 탐구 = 38 제2절 장 뤽 고다르의 자기반영적 미학 실천 = 45 제3절 알랭 레네의 새로운 시간개념과 현재성 모색 = 52 제4장 모더니즘 영화와 관객에 대한 논의 = 60 제1절 고전영화의 관극성 = 62 제2절 모더니즘 영화의 관극성 = 64 제5장 결론 = 75 참고문헌 = 78 ABSTRACT = 83

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