러시아 네오리얼리즘과 새로운 영화 미학: 새로운 리얼리즘 영화 미학의 형성과 이탈리아 네오리얼리즘에의 영향 (Russian Neorealism and New Cinematic Aesthetics: Formation of New Cinematic Realism and Influence upon Italian Neorealism Cinema)

서지정보

· 발행기관 : 세계문학비교학회
· 수록지 정보 : 세계문학비교연구 / 42호 / 515 ~ 544페이지
· 저자명 : 이희원

초록

‘Neorealism’ emerged into the history of world cinema when Umberto Barbaro defined it with a group of new Italian cinema that presented new style of realism. Even though it has been taken into account of Italian cinema generally up until now, Umberto Barbaro originally referred this concept to identify the characteristics of postrevolutionary Soviet literature and defined them as ‘neorealist.’ Barbaro showed great discernment in this definition because the Russian neorealism literature which tried to overcome the limit of traditional realism with the spirit and aesthetics of modernism dynamically correlated with the cinema. Moreover with this definition he penetrated correlation between aesthetics of Russia-Soviet cinema and Italian neorealism.
This study initially focuses on how Russian neorealism literature affected and transmitted into aesthetics of cinema and how their interaction was going along. Fetal movement of neorealism in Russian literature began in 1910s. It was a distinguished movement that tried to grasp the ‘existence’ and ‘reality’ based on the relativist view, recognition of crossover probability and plural point of view to fulfill the ‘determination toward new realism’ of the true reality. This determination has been realized with the fragmented narrative which shows the momentary ‘mediocrity of everyday existence.’ In this process neorealism literature more highly evaluated the synchronic time than the diachronic time and demonstrated strong characteristics of spatial orientation. This special characteristics of spatial orientation and the fragmented narrative corresponded with the cinematic montage and ‘visual synchronism.’As many film theorists included André Bazin and Siegfried Kracauer paid particular attention, the aesthetics of neorealism was ‘an escape from prison of customary realism’ and achieved ‘determination toward new realism’ which realized the true reality.
Meanwhile, the Russian-Soviet cinematic aesthetics in 1920s which dynamically interacted with neorealism literature were assimilated into the Italian cinema in 1930s and, as a result, influenced the formation of Italian neorealism cinema. Umberto Barbaro who performed a significant role in this regard understood Soviet cinema to be ‘the starting point and example for the rebirth of Italian cinema.’ As one of the first professors of Centro Sperimentale di Cinematografia, Barbaro used Soviet cinema both in his writings and in his teaching considering it as the derivative of realism, he transposed ‘realistic’ achievement of Russian-Soviet cinema away from the Soviet context to the Italian arena. In this way, Barbaro influenced on formulation of the proto-agenda of Italian neorealism and the ‘reality’ became the central concept for neorealism. Considering Soviet montage techniques as ‘a truly realistic work of art,’ Barbaro explicitly used Russian-Soviet cinema and developed new cinematographic weapon - neorealism - against the doctrinaire idealism in the Italian cinema.

영어초록

‘Neorealism’ emerged into the history of world cinema when Umberto Barbaro defined it with a group of new Italian cinema that presented new style of realism. Even though it has been taken into account of Italian cinema generally up until now, Umberto Barbaro originally referred this concept to identify the characteristics of postrevolutionary Soviet literature and defined them as ‘neorealist.’ Barbaro showed great discernment in this definition because the Russian neorealism literature which tried to overcome the limit of traditional realism with the spirit and aesthetics of modernism dynamically correlated with the cinema. Moreover with this definition he penetrated correlation between aesthetics of Russia-Soviet cinema and Italian neorealism.
This study initially focuses on how Russian neorealism literature affected and transmitted into aesthetics of cinema and how their interaction was going along. Fetal movement of neorealism in Russian literature began in 1910s. It was a distinguished movement that tried to grasp the ‘existence’ and ‘reality’ based on the relativist view, recognition of crossover probability and plural point of view to fulfill the ‘determination toward new realism’ of the true reality. This determination has been realized with the fragmented narrative which shows the momentary ‘mediocrity of everyday existence.’ In this process neorealism literature more highly evaluated the synchronic time than the diachronic time and demonstrated strong characteristics of spatial orientation. This special characteristics of spatial orientation and the fragmented narrative corresponded with the cinematic montage and ‘visual synchronism.’As many film theorists included André Bazin and Siegfried Kracauer paid particular attention, the aesthetics of neorealism was ‘an escape from prison of customary realism’ and achieved ‘determination toward new realism’ which realized the true reality.
Meanwhile, the Russian-Soviet cinematic aesthetics in 1920s which dynamically interacted with neorealism literature were assimilated into the Italian cinema in 1930s and, as a result, influenced the formation of Italian neorealism cinema. Umberto Barbaro who performed a significant role in this regard understood Soviet cinema to be ‘the starting point and example for the rebirth of Italian cinema.’ As one of the first professors of Centro Sperimentale di Cinematografia, Barbaro used Soviet cinema both in his writings and in his teaching considering it as the derivative of realism, he transposed ‘realistic’ achievement of Russian-Soviet cinema away from the Soviet context to the Italian arena. In this way, Barbaro influenced on formulation of the proto-agenda of Italian neorealism and the ‘reality’ became the central concept for neorealism. Considering Soviet montage techniques as ‘a truly realistic work of art,’ Barbaro explicitly used Russian-Soviet cinema and developed new cinematographic weapon - neorealism - against the doctrinaire idealism in the Italian cinema.

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