<헤어질 결심>에 사용된 시점 쇼트의 서사적 기능 (The Narrative Function of the Point of View Shots in Decision to Leave)

서지정보

· 발행기관 : 한국영상제작기술학회
· 수록지 정보 : 영상기술연구 / 1권 / 41호 / 28 ~ 48페이지
· 저자명 : 류재형

초록

This study has understood the active use and the narrative functions of the point of view(POV) shots, which can be viewed as one the clues to gauge Park Chan-wook’s directing ability and be evaluated as contributing to the cinematic quality of Decision to Leave. In the film, there are three main types of POV shots, such as the POV shots and the explanatory representation of their subjectivity, the POV shots of the deceased, and the POV shots of the mobile phone (from the inside). First, compared to the conventional use of POV shots, which allows the audience to experience the character's subjectivity visually and emotionally by matching the camera's glance with the character's glance, the POV shots and the explanatory representation of their subjectivity literally refers to explaining the subjective psychology of the character by inserting the shots that dramatically reproduces the character’s psychology or emotion, after or in between the POV shots. Second, the POV shots of the deceased asks the ethical question of what is different from Hae-joon, who lost his dignity and collapsed by releasing Seo-rae, the criminal of the murder case, through the POV shots of the three people who died while living a trashy life, Ki Do-soo, Hong San-o, Lim Ho-shin looking at the protagonist Hae-joon. Finally, the POV shots of the mobile phone indicates the representation of the communication between Seo-rae and Hae-joon mediated by the POV shots from the inside of the mobile phones in Hae-joon’s hand. They effectively reproduce the completion of Seo-rae and her love, who develop her mind for Hae-joon.
It is believed that most of the existing research on the POV shots has been dealt with as a sub-area of research on the point of view in films rather than as studies on POV shots themselves. In addition, several studies on the POV shot itself are limited to the level of conceptual theorem on the function of the traditional POV shot and analysis of meaning for each scene in the film using it. In comparison, this study examines the concept of the POV shot and its structural operating principles. And at the same time, based on this, Decision to Leave, a very timely film in terms of socio-cultural influences, was selected as the subject of the textual analysis, showing how the transformative or creative use of the POV shots according to the director's direction is performing different and clear functions depending on the phase of the storytelling. Here is the small but important significance of this study. In addition to the POV shots analyzed in the textual analyses, there are several different types of the POV shots in the film. They are the POV shot from the wallpaper, that from the urn, and that from the dead fish. However, it is the limitation and efficiency of this study that they were excluded from the subject of the textual analysis under the judgment of the researcher that they were focused on the aesthetic cinematography rather than the narrative functions.

영어초록

This study has understood the active use and the narrative functions of the point of view(POV) shots, which can be viewed as one the clues to gauge Park Chan-wook’s directing ability and be evaluated as contributing to the cinematic quality of Decision to Leave. In the film, there are three main types of POV shots, such as the POV shots and the explanatory representation of their subjectivity, the POV shots of the deceased, and the POV shots of the mobile phone (from the inside). First, compared to the conventional use of POV shots, which allows the audience to experience the character's subjectivity visually and emotionally by matching the camera's glance with the character's glance, the POV shots and the explanatory representation of their subjectivity literally refers to explaining the subjective psychology of the character by inserting the shots that dramatically reproduces the character’s psychology or emotion, after or in between the POV shots. Second, the POV shots of the deceased asks the ethical question of what is different from Hae-joon, who lost his dignity and collapsed by releasing Seo-rae, the criminal of the murder case, through the POV shots of the three people who died while living a trashy life, Ki Do-soo, Hong San-o, Lim Ho-shin looking at the protagonist Hae-joon. Finally, the POV shots of the mobile phone indicates the representation of the communication between Seo-rae and Hae-joon mediated by the POV shots from the inside of the mobile phones in Hae-joon’s hand. They effectively reproduce the completion of Seo-rae and her love, who develop her mind for Hae-joon.
It is believed that most of the existing research on the POV shots has been dealt with as a sub-area of research on the point of view in films rather than as studies on POV shots themselves. In addition, several studies on the POV shot itself are limited to the level of conceptual theorem on the function of the traditional POV shot and analysis of meaning for each scene in the film using it. In comparison, this study examines the concept of the POV shot and its structural operating principles. And at the same time, based on this, Decision to Leave, a very timely film in terms of socio-cultural influences, was selected as the subject of the textual analysis, showing how the transformative or creative use of the POV shots according to the director's direction is performing different and clear functions depending on the phase of the storytelling. Here is the small but important significance of this study. In addition to the POV shots analyzed in the textual analyses, there are several different types of the POV shots in the film. They are the POV shot from the wallpaper, that from the urn, and that from the dead fish. However, it is the limitation and efficiency of this study that they were excluded from the subject of the textual analysis under the judgment of the researcher that they were focused on the aesthetic cinematography rather than the narrative functions.

참고자료

· 없음