영화의 자기 반영성에 관한 연구 :이명세 감독의 <M>을 중심으로

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본제목

영화의 자기 반영성에 관한 연구 :이명세 감독의 <M>을 중심으로

부제목

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대등제목

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국가구분

국내

생산일자

2009-**-**

언어

한국어

크기(mm)

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페이지

60

ISBN/ISSN

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판차

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마스터파일

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생산자

김미애 (부경대 국제대학원 영상학 석사 논문 저자)

내용

(논문요약)[영문초록] The movie was born in 1895 with the Lumi？re brother. The art which is a movie which is born like this did not pass and for a few years not to be the bitter fight Hollywood movie format which is represented with style movie in the center and advanced came. The format of bitter fight Hollywood movie plot and narrative with to be to mote development a sense of value or the concept which is dominative permanence makes or maintenance of the status quo, the spectator to the test board of that sense of value was immersed passively. Did so and the duty which does to make accept with the ideology which is dominative patriarchal system and the capitalism which are ideology which our time is dominative took charge of came. The format which like this bitter fight Hollywood movie is dominative 1960's Eve New Wave in compliance with the movie movement of the chain which becomes known makes a challenge receive. The movie movement of majority this time like the dam water appear in standard. The New Wave movie movement common discontinuation with past, and 'The medium which is a movie will lead and there is a possibility what, what is doing' The self which is will be the possibility as question of doing about oneself. The fact that in order searching seeks an answer inevitably is self-reflexivity about like this question. The self-reflexivity aesthetics about medium the frame of new quest psychiatry format under destroying should have been boiled makes appear with the author spirit. Own self-reflexivity which comes to seem from these two birds appeared in each other different form. The former is About medium the reflection characteristic which sleeps, the latter is With the fact that reflects the author oneself movie confidence movie to a medium. Looks back a past and reflection, own self-reflexivity royal favor movie for a further new perspective and an alternative presentation is invented about act of self and, the reading about the media being different in philosophic monologue, is nabout difficulty after that first. Own self-reflexivity is core concept in art from modernism and post modernism. Own self-reflexivity of like this movie appearing from our country movie, when starting, is 1980's and 1990's opening. Movie from the start which is modernism and there is a possibility of trying to seek the reflection which is sincere in this time about being. About 20 the year last now and own self-reflexivity aesthetics of movie part independent movie vague but from artistic movie etc. variety movie, will be discovered only the fact that the art which is a movie with from industry is concentrated actuality. The reason where the art is a value is because being the possibility will be able to change the society affirmatively. The movie in various artistic field most the art which is popular is most is the field which is possibility in value realization of art. Respects this from about that oneself of movies the agony which is sincere, own self-reflexivity of namely movie refers the research certainly will be necessary. Will use own self-reflexivity of movie with characteristic of modernism from this study, about the theoretical background and aesthetic ground about self-reflexivity of movie apply the research of existing and under developing boil. And self-reflexivity of movie refers and existing research to lead about self-reflexivity of movie develops an aesthetic ground and a background, analyzes the film <M> of director Lee Myung se alias with the fact that investigates self-reflexivity of movie is essential of this study.

목차

목차

1. 서론 1 1) 연구 목적 및 필요성 1 2) 사례 선택 이유 3 3) 논문 구성 및 진행 5 2. 자기 반영성의 미학적 근거와 배경 7 1) 모더니즘과 영화매체 7 2) 리얼리즘의 문제 10 (1) 재현의 위기 11 (2) 사실주의 서사와의 결별 15 3) 브레히트의 소격 이론과 고다르의 자기 반영적 수용 18 4) 자기 반영성과 근대적 주체성 21 3. 자기 반영적 텍스트로서의 영화 25 1) 자기 반영성과 작가 25 2) 영화 매체의 자기 반영성 27 3) 자기 반영성의 영화적 형식 29 4. 이명세 감독의 <M>에 드러난 자기 반영성 36 1) 이명세 감독의 작품 세계 36 (1) 이명세 감독 36 (2) 이명세 감독의 작품세계 37 가. <인정사정 볼 것 없다> <형사> 37 나. <나의사랑 나의신부> <첫사랑> 38 다. <개그맨> <남자는 괴로워> 41 (3) 영화 <M> 소개 및 자기 반영성 42 2) 자기 반영성의 실험과 이명세 감독의 <M> 43 (1) <M>과 이명세 감독의 자의식 반영 43 (2) <M> 속의 미장아빔 45 (3) <M>의 화면 분할과 중간 자막 48 (4) <M>의 공간 분석 50 3) 소결론 52 5. 결론 55

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