<맥베스> 영화와 로케이션: 스코틀랜드 비극에서 스코틀랜드 영화로

Abstract

Macbeth is characterized as Shakespeare’s Scottish tragedy because it is the only play that is entirely set in Scotland, and as his most Jacobean play because it is the play that most clearly reflects the relation between Banquo as the Stuarts ancestor and James I as his descendant. The personal tragedy of Macbeth is framed within Scottish national and political issues. His mind is bound up with the notion of kingship and power, which resonates with Jacobean matters. In this context Macbeth films take interest in how to present the identity of Scotland on screen, and revisit the Scottish past in locational terms. They offer a wide range of interpretations of the dramatic realities of the times, and reimaginings of what wartime must have been like in the medieval era of Scotland. They create the world of Macbeth’s Scotland through the visual and aural representations of conceptually constructed places. This paper discusses the ways in which Macbeth films approach to their locations defining the relations between the real and the imagined place, and between the physical and conceptual place. Discussions are centred on Justin Kurzel’s Macbeth in 2015 by comparison with Orson Welles’ in 1948, Roman Polanski’s in 1971, and Jeremy Freeston’s in 1997. On theses films Scotland is historically, culturally, and literally invoked in the way which deepens and complicates variations on the themes of the play. In conclusion, film locations offer the means of transforming Shakespeare’s Scottish tragedy into directors’ Scottish films.