가오싱지안(高行健) 영화론* ：〈실루엣 혹은 그림자(La Silhouette sinon l’ombre)〉와 〈혼돈 이후(APRES LE DELUGE)〉를 중심으로 (A Study on Gao, Xing-jian’s Film: focused on La Silhouette sinon l’ombre(側影或影子) and APRES LE DELUGE(洪荒之後))

서지정보

· 발행기관 : 한양대학교 현대영화연구소
· 수록지 정보 : 현대영화연구 / 8권 / 1호 / 123 ~ 152페이지
· 저자명 : 임대근

초록

This work has tried to review Gao Xing-jian’s films. Gao is Chinese French who has exiled because of political oppression on his works of art. He has directed two films: one is La Silhouette sinon l’ombre(2006), another is APRES LE DELUGE(2008). There is an objection that was already raised by myself to producing knowledge and building up discourse on Gao in Korea. For this reason I have argued intertextuality his own works, and considered the ways how the signification of the inner-texts meets some contexts in outer-texts as an advocate for contextuality and articulation for overcoming some gaps and splits between object and subject of study.
Firstly it has argued the relationship of La Silhouette sinon l’ombre and APRES LE DELUGE. Despite of some differences like running time or the method of using and arranging images, APRES LE DELUGE has succeed La Silhouette sinon l’ombre from various angles something like atmosphere, style, shots, hybridity of identity. Secondly, it has also argued the signification of his films is very similar to poetic signs: they have excluded narrative and arranged images with non-lineal method. It could borrowed the argument of poetic cinema by Pier Paolo Pasolini. Especially his concept, free indirect point of view shot, a requisite of poetic cinema is discovered repeatedly in his films. However, in conclusion, it has presented those requisites of form or style could not explain some in-depth signification of his films, it would be secured from understanding context as the conditions that could created those form and styles. Gao has problematized hybridity of self identity articulating his own life history with arranging ambiguous images. And it is connected to some post-colonial interpretations.

영어초록

This work has tried to review Gao Xing-jian’s films. Gao is Chinese French who has exiled because of political oppression on his works of art. He has directed two films: one is La Silhouette sinon l’ombre(2006), another is APRES LE DELUGE(2008). There is an objection that was already raised by myself to producing knowledge and building up discourse on Gao in Korea. For this reason I have argued intertextuality his own works, and considered the ways how the signification of the inner-texts meets some contexts in outer-texts as an advocate for contextuality and articulation for overcoming some gaps and splits between object and subject of study.
Firstly it has argued the relationship of La Silhouette sinon l’ombre and APRES LE DELUGE. Despite of some differences like running time or the method of using and arranging images, APRES LE DELUGE has succeed La Silhouette sinon l’ombre from various angles something like atmosphere, style, shots, hybridity of identity. Secondly, it has also argued the signification of his films is very similar to poetic signs: they have excluded narrative and arranged images with non-lineal method. It could borrowed the argument of poetic cinema by Pier Paolo Pasolini. Especially his concept, free indirect point of view shot, a requisite of poetic cinema is discovered repeatedly in his films. However, in conclusion, it has presented those requisites of form or style could not explain some in-depth signification of his films, it would be secured from understanding context as the conditions that could created those form and styles. Gao has problematized hybridity of self identity articulating his own life history with arranging ambiguous images. And it is connected to some post-colonial interpretations.

참고자료

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