표현주의 영화의 이원성에 관한 연구

서지정보

· 발행기관 : 한국문화예술교육학회
· 수록지 정보 : 모드니 예술 / 11권
· 저자명 : 김진

목차

Ⅰ. 서 론
Ⅱ. 표현주의의 배경
1. 표현주의의 역사적 배경과 특징
2. 독일 표현주의 영화와 인접예술
3. 표현주의 영화의 시대적 상황과 이중성
Ⅲ. 독일 표현주의 영화의 내러티브에 나타난 이원성
1. 표현주의 영화의 인물 표현방식
2. 표현주의 영화의 모티브
1) 이중자아
2) 골렘, 뱀파이어, 기계인간과 같은 비인격체 그리고 초인
3) 여성과 남성
3. 표현주의 영화서사 구조와 결말구조
1) 이중적 서술구조
2) 꿈과 현실, 그리고 허구와 현실의 경계
3) 결말 방식의 이중성
Ⅳ. 독일 표현주의영화의 이미지에 표현된 이원성
1. 표현주의 영화의 빛과 그림자, 그리고 조명
2. 표현주의 영화의 시공간 표현방법
3. 표현주의 영화의 등장인물의 이미지와 연기
Ⅴ. 결 론

영어초록

The purpose of this study was to find out the contact points of expressionist movie with modern films,by analyzing the duality of German expressionist movie texts around the 1900s. At this time when a
variety of media have been developed, carrying out this study of which aim was to examine classical
movie, produced about 100 years ago, was because the contents and visually expressive methods of
expressionist movie seemed to be still utilized.
Expressionism was subjective in that it exposed the problems of times and society in Germany around
the 1900s without filtering and expressed subject’s experience from inside to outside. With this trend, the
movie at that time utilized the artistic possibility of expressionist movement in the neighboring genre of
art. The movie, therefore, had riffle effects not only from aesthetic perspective but also from industrial
perspective, contained sociocultural implications and expressed the anxiety and horror of the public through
spectatorship.
In the films of today, the genre of horror movie exposes spectatorship in combination with various
filmic genres, such as SF movie and psychological thriller movie. Since they have been influenced by the
visual/narrative duality of expressionist movie, their implications are great.
As for the duality presented in the narrative of German expressionist movie, the expression of characters
was carried out with the contrast between normality and abnormality and man and woman, and with the
dual self-oriented separation. The descriptive structure had picture-frame-oriented dual structure of
description and presented the possibility of opened conclusion-based dual interpretation. In addition, the
duality of images was reproduced through the contrast between black and white, the confrontation between
light and darkness, the barrier between dream and reality based on the overlapping of times and spaces,
and contrasting actions of movements. All of these methods of expression originated from internal
inevitability.
These dualities of expressionist movie are presented in the horror movie of modern films, through such
an expressive method of characters as the difference between inflictor/victim and man/woman. Regarding
images, duality is presented in diverse films and throughout media that inducing horror and fantasy, such
as film noir lighting, surrealistic setting and SF movie.
This study was initiated to re-highlight the meaning of expressionist movie on the basis of research on
the duality of expressionist movie, and then provide help to the analysis on the films which appealing to
the social implication-bearing horror and fantasy by analyzing expressionist movie in relation to modern
films. The author hopes many studies will be carried out in the future from diverse perspectives and new
film aesthetics will be found out as well.

참고자료

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