타르코프스키의 <솔라리스>와 각색의 문제 (Tarkovsky’s Solaris and the Problem of Adaptation)

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초록

Andrei Tarkovsky’s Solaris (1972) raises a number of crucial questions concerning cinematic adaptation of literary sources. At a glance, the film appears to be faithful to the original story of the same title, a Polish science fiction written by Stanislaw Lem in 1961: the film repeats not only the original title of the novel but also the entire narrative structure, along with its characters and main events depicted in the novel. What unsettles the notion of a “faithful” adaptation emerges out of this deceiving directness; a closer look at the film reveals that Tarkovsky has made a drastic departure from the novel and that the film explores its own thematic elements and motifs beyond Lem’s scope.
Tarkovsky departs from the original novel in three major aspects. Firstly, having no interest in genre cinema, Tarkovsky clearly intended to systematically eliminate the defining characteristics of the science fiction genre. Secondly, Tarkovsky cultivated his own thematic orientations by re-working the mysterious situations depicted in the book. The “visitors” in the space station, for instance, who in the novel are merely “incarnations” of the scientists’ own personal memories, become the true, hidden dimensions of the inner self for the Russian director, allowing him to deal with ethical questions that did not concern the novelist. Lastly, he made use of Pieter Bruegel’s paintings including The Hunters in the Snow in order to create intertextual meanings that enhance Tarkovsky’s own theme. The “text within a text” indeed emerges as a crucial area of investigation in studying film adaptation as it radically reshapes the thematic orientations.
Inasmuch as Tarkovsky’s film autonomously explores its own theme independent of its original story, the adaptation of Solaris is neither faithful to nor free from the novel, but rather “critical” of it. A “critical adaptation” is an approach to expand the cinematic means of communication by reworking literary sources and thus maintain the autonomy of cinema as an art form free from the traditions of literary film. Tarkovsky’s is the most creative and justifiable form of cinematic adaptation of literary sources.

영어초록

Andrei Tarkovsky’s Solaris (1972) raises a number of crucial questions concerning cinematic adaptation of literary sources. At a glance, the film appears to be faithful to the original story of the same title, a Polish science fiction written by Stanislaw Lem in 1961: the film repeats not only the original title of the novel but also the entire narrative structure, along with its characters and main events depicted in the novel. What unsettles the notion of a “faithful” adaptation emerges out of this deceiving directness; a closer look at the film reveals that Tarkovsky has made a drastic departure from the novel and that the film explores its own thematic elements and motifs beyond Lem’s scope.
Tarkovsky departs from the original novel in three major aspects. Firstly, having no interest in genre cinema, Tarkovsky clearly intended to systematically eliminate the defining characteristics of the science fiction genre. Secondly, Tarkovsky cultivated his own thematic orientations by re-working the mysterious situations depicted in the book. The “visitors” in the space station, for instance, who in the novel are merely “incarnations” of the scientists’ own personal memories, become the true, hidden dimensions of the inner self for the Russian director, allowing him to deal with ethical questions that did not concern the novelist. Lastly, he made use of Pieter Bruegel’s paintings including The Hunters in the Snow in order to create intertextual meanings that enhance Tarkovsky’s own theme. The “text within a text” indeed emerges as a crucial area of investigation in studying film adaptation as it radically reshapes the thematic orientations.
Inasmuch as Tarkovsky’s film autonomously explores its own theme independent of its original story, the adaptation of Solaris is neither faithful to nor free from the novel, but rather “critical” of it. A “critical adaptation” is an approach to expand the cinematic means of communication by reworking literary sources and thus maintain the autonomy of cinema as an art form free from the traditions of literary film. Tarkovsky’s is the most creative and justifiable form of cinematic adaptation of literary sources.

참고자료

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