임권택 영화에 나타난 동양화론의 영화적 수용과 몽타쥬에 관한 연구 (The Study on Oriental Style of Art and Montage Shown in Im kwon tak's flim)

서지정보

· 발행기관 : 한양대학교 현대영화연구소
· 수록지 정보 : 현대영화연구 / 8권 / 2호 / 105 ~ 136페이지
· 저자명 : 문관규

초록

The film is the flower of art grown in the soil of national culture. Im Kwon-taek's films were inspired by his own reflections on his own culture in Korea.


digging into 'the korean thing' began in the discourse of the Local color in the 1930s Local color has been suggested as an alternative for the viablility of the domestic film industry .The cultural agenda, which was suggested in the discourse of the globalization where motto, 'what is korean like leads to world' was born was 'what is korean like'.


Based on the culture of South Korea, Im Kwon-taek has built his own film world, Through this, not only was he known as a national director in korea, but also he was given approval as a Korea's representative artist in abroad. In Im Kwon-taek's movie, the korean culture is an aesthetic root as well as the stalk ,starring the Korean people against the backdrop of South Korea. His cinematic ability was capturing the daily life of the korean people arranging the landscape of South Korea as a realistic mise.


these challenges has resulted in to the style which represents the spirit through the shape. So emerged repeatedly through 'the road image' which representated the inner eomotion of each character.


In <Mandala>, starring Investigators as the main character, <Sopyonje> and <Strokes of Fire>, which dealt with the artist's extreme lonley and desperate life ' the road image' was stood out. For example, in <Sopyonje> the scene where a singer sang 'jindo arirang', the shape of the long and curving road revealed the aesthetics of the koreans curve extremely well and implied a singers up and downs in life visually. In this scene we can see the road image intergrating the artist's lonely life and journey for the suffering of korean.


The cinematic acceptance of the style which embraces the sprit in the shape and uses attraction montage makes us witness the sight of an historical art form embracing the spirit of 'Jinkyungsansoo' which is one of oriental realisms which represent korean nature rather realistically and embrace the korean sprit in it.


Through im kwon tak's. while the artists in the era of 'Jinkyungsansoo' had tried to capture the nature of korea realistically with their brush, im kwon tak tried to capture the scenary of korean nature more realistically through the camera. Despite different genre and era, they are common with the realistic representation of korean nature and seeking the same aim for representing the sprit in and with the shape. Traditional succession of 'Jinkyungsansoo' continues with and reveals through im kwon tak's flims. in terms of art of history, the art continue through discontinuity of succession rather then die. In that an era of culture is led by conjunction of the stems of wild and out-put of stimulation, there is not little we should reflect on what he has achieved, in term of korean film of aesthetic aim, aesthetically intergrating spirit and style of oriental picture and Russian montage.

영어초록

The film is the flower of art grown in the soil of national culture. Im Kwon-taek's films were inspired by his own reflections on his own culture in Korea.


digging into 'the korean thing' began in the discourse of the Local color in the 1930s Local color has been suggested as an alternative for the viablility of the domestic film industry .The cultural agenda, which was suggested in the discourse of the globalization where motto, 'what is korean like leads to world' was born was 'what is korean like'.


Based on the culture of South Korea, Im Kwon-taek has built his own film world, Through this, not only was he known as a national director in korea, but also he was given approval as a Korea's representative artist in abroad. In Im Kwon-taek's movie, the korean culture is an aesthetic root as well as the stalk ,starring the Korean people against the backdrop of South Korea. His cinematic ability was capturing the daily life of the korean people arranging the landscape of South Korea as a realistic mise.


these challenges has resulted in to the style which represents the spirit through the shape. So emerged repeatedly through 'the road image' which representated the inner eomotion of each character.


In <Mandala>, starring Investigators as the main character, <Sopyonje> and <Strokes of Fire>, which dealt with the artist's extreme lonley and desperate life ' the road image' was stood out. For example, in <Sopyonje> the scene where a singer sang 'jindo arirang', the shape of the long and curving road revealed the aesthetics of the koreans curve extremely well and implied a singers up and downs in life visually. In this scene we can see the road image intergrating the artist's lonely life and journey for the suffering of korean.


The cinematic acceptance of the style which embraces the sprit in the shape and uses attraction montage makes us witness the sight of an historical art form embracing the spirit of 'Jinkyungsansoo' which is one of oriental realisms which represent korean nature rather realistically and embrace the korean sprit in it.


Through im kwon tak's. while the artists in the era of 'Jinkyungsansoo' had tried to capture the nature of korea realistically with their brush, im kwon tak tried to capture the scenary of korean nature more realistically through the camera. Despite different genre and era, they are common with the realistic representation of korean nature and seeking the same aim for representing the sprit in and with the shape. Traditional succession of 'Jinkyungsansoo' continues with and reveals through im kwon tak's flims. in terms of art of history, the art continue through discontinuity of succession rather then die. In that an era of culture is led by conjunction of the stems of wild and out-put of stimulation, there is not little we should reflect on what he has achieved, in term of korean film of aesthetic aim, aesthetically intergrating spirit and style of oriental picture and Russian montage.

참고자료

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