소설과 시와 영화텍스트의 연계성―『암흑의 오지』와 「텅 빈 사람들」 및『지옥의 묵시록』을 중심으로 (Poetry as Interventions Linking Novel and Film―With special reference to Heart of Darkness, “The Hollow Men” and Apocalypse Now)

서지정보

· 발행기관 : 한국T.S.엘리엇학회
· 수록지 정보 : T. S. 엘리엇연구 / 17권 / 1호 / 153 ~ 175페이지
· 저자명 : 최영승

초록

This study aims at showing how T. S. Eliot’s “The Hollow Men” intervenes in Francis Coppola’s Apocalypse Now, the film version of Joseph Conrad’s Heart of Darkness. Eliot’s poem, which quotes from Conrad’s novel, functions as a kind of catalyst in his film, enabling Conrad to strongly express his message. The film is recreated from its source novel, alluding to Eliot’s poetic lines, whereas in Eliot’s poem Conrad’s lines serve as an epigraph. In this respect, the three works interlock in the process of the reproduction, forming a perfect bridge from literary canon to popular culture.
A close comparison of the three works makes it possible to see how the literary text can be reproduced in a popular film, a reproduction transgressing the boundaries of genre, deconstructing binary oppositions between high literature and low culture.
In conclusion, Eliot’s poem shows the textual values of interventions that accept and promote literary evolution in the process of transformation from logocentric verbal text to visual text with images and sounds. In addition, the boundary between literary canon and popular cultural text disappears.

영어초록

This study aims at showing how T. S. Eliot’s “The Hollow Men” intervenes in Francis Coppola’s Apocalypse Now, the film version of Joseph Conrad’s Heart of Darkness. Eliot’s poem, which quotes from Conrad’s novel, functions as a kind of catalyst in his film, enabling Conrad to strongly express his message. The film is recreated from its source novel, alluding to Eliot’s poetic lines, whereas in Eliot’s poem Conrad’s lines serve as an epigraph. In this respect, the three works interlock in the process of the reproduction, forming a perfect bridge from literary canon to popular culture.
A close comparison of the three works makes it possible to see how the literary text can be reproduced in a popular film, a reproduction transgressing the boundaries of genre, deconstructing binary oppositions between high literature and low culture.
In conclusion, Eliot’s poem shows the textual values of interventions that accept and promote literary evolution in the process of transformation from logocentric verbal text to visual text with images and sounds. In addition, the boundary between literary canon and popular cultural text disappears.

참고자료

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