범죄사건을 가장한 복수사건: 최동훈 범죄영화 3부작, <범죄의 재구성>, <타짜>, <도둑들>의 정보인지 전략 연구 (Revenge Cases That Are Disguised as Criminal Cases: A Study on the Information Cognition Strategy of Choi Dong-hoon's Crime Film Trilogy—The Big Swindle, The War Of Flower and The Thieves—)

서지정보

· 발행기관 : 문학과영상학회
· 수록지 정보 : 문학과 영상 / 21권 / 1호 / 61 ~ 85페이지
· 저자명 : 서곡숙

초록

The purpose of this paper is to examine information cognition strategy of Choi Dong-hoon's crime film trilogy―The Big Swindle (2004), The War Of Flower (2006) and The Thieves (2012). This paper seeks to examine the strategy of whether it is information of crime film trilogy, focusing on Characteristic of narratives, customs of genres and audience communication.
In the narratives of the crime film trilogy, the character's ambivalence, the plot's complexity, and the subject's side-effects operate various strategies of whether it is information recognition. In information cognition, the trilogy differentiates the dominance of the main character, the fall of the antagonist, the rise of the audience and ignorance of public power. So the audience and main characters who are aware of the information mock the enemy and the public power who are ignorant of the information. The tricks and schemes, the complex composition, the heterogeneity of revenge create a process of multi-layered information.
The trilogy of crime films blends the roles of perpetrators, victims and investigators, three pillars of crime films, leaving the boundaries of criminals, ordinary people and public authority blurred. The audience shows the rise of the cognitive stage in the order of ignorance, misunderstanding and recognition, in information about the treacherous character, incredible narrator and the scheme of criminals. Romance also involves schemes, tricks and lies, and shows the ironic ending.
The trilogy mainly uses a more powerful strategy of suspense than a strategy of surprise. And the repetitive characters, disguise and impersonations, accidental events, and the ruse of the various figures make the audience feel both 'uncertainty tensions' and 'expected tensions'. The most important secret is revealed through a surprise strategy, making the unexpected audience expect future events.
In Choi Dong-hoon's crime film trilogy, the strategy of whether it is information based on the nature of narratives and customs of genres leads to active communication among the audience, securing the popularity of the films. Director Choi Dong-hoon needs to pay attention to future research in that he has achieved outstanding achievements in box office, the workmanship and writerism.

영어초록

The purpose of this paper is to examine information cognition strategy of Choi Dong-hoon's crime film trilogy―The Big Swindle (2004), The War Of Flower (2006) and The Thieves (2012). This paper seeks to examine the strategy of whether it is information of crime film trilogy, focusing on Characteristic of narratives, customs of genres and audience communication.
In the narratives of the crime film trilogy, the character's ambivalence, the plot's complexity, and the subject's side-effects operate various strategies of whether it is information recognition. In information cognition, the trilogy differentiates the dominance of the main character, the fall of the antagonist, the rise of the audience and ignorance of public power. So the audience and main characters who are aware of the information mock the enemy and the public power who are ignorant of the information. The tricks and schemes, the complex composition, the heterogeneity of revenge create a process of multi-layered information.
The trilogy of crime films blends the roles of perpetrators, victims and investigators, three pillars of crime films, leaving the boundaries of criminals, ordinary people and public authority blurred. The audience shows the rise of the cognitive stage in the order of ignorance, misunderstanding and recognition, in information about the treacherous character, incredible narrator and the scheme of criminals. Romance also involves schemes, tricks and lies, and shows the ironic ending.
The trilogy mainly uses a more powerful strategy of suspense than a strategy of surprise. And the repetitive characters, disguise and impersonations, accidental events, and the ruse of the various figures make the audience feel both 'uncertainty tensions' and 'expected tensions'. The most important secret is revealed through a surprise strategy, making the unexpected audience expect future events.
In Choi Dong-hoon's crime film trilogy, the strategy of whether it is information based on the nature of narratives and customs of genres leads to active communication among the audience, securing the popularity of the films. Director Choi Dong-hoon needs to pay attention to future research in that he has achieved outstanding achievements in box office, the workmanship and writerism.

참고자료

· 없음