상호매체성과 상호 매체적 서사 연구: 셰익스피어의 『폭풍우』와 피터 그리너웨이의 <프로스페로의 책들>을 중심으로
The Study of Intermediality and Intermedial Narrative Between Shakespeare's The Tempest and Peter Greenaway’s Prospero’s Books
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This paper examines intermediality and intermedial narrative between Shakespeare’s The Tempest and Peter Greenaway’s film, Prospero’s Books (1991). In Prospero’s Books, Greenaway creates a new and artificial world by employing state-of-the art techniques called the digital Graphic Paintbox., which offers a new way of producing cinematic space. Prospero’s twenty-four magic books play significant roles in shaping the narratives of The Tempest which Prospero writes and delivers in his film. Each book is placed in the cinematic frame, and the magical power of Prospero’s words makes various textual images (pictorial art, architecture, and classical literature) animated within each frame or coming from outside the screen. Throughout his film, which presumes that The Tempest is Shakespeare’s self-referetial text, Greenaway experiments with the interaction between word and spectacle, text and image, and literature and movie by employing digital techniques and different media, as well as by creating a new paradigm for the screen.
Abstract
This paper examines intermediality and intermedial narrative between Shakespeare’s The Tempest and Peter Greenaway’s film, Prospero’s Books (1991). In Prospero’s Books, Greenaway creates a new and artificial world by employing state-of-the art techniques called the digital Graphic Paintbox., which offers a new way of producing cinematic space. Prospero’s twenty-four magic books play significant roles in shaping the narratives of The Tempest which Prospero writes and delivers in his film. Each book is placed in the cinematic frame, and the magical power of Prospero’s words makes various textual images (pictorial art, architecture, and classical literature) animated within each frame or coming from outside the screen. Throughout his film, which presumes that The Tempest is Shakespeare’s self-referetial text, Greenaway experiments with the interaction between word and spectacle, text and image, and literature and movie by employing digital techniques and different media, as well as by creating a new paradigm for the screen.
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