영화 <디 아워스>에서 시간 속에 갇힌 인물들
Trapped in Time: The Portrayal of the Characters in The Hours
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Stephen Daldry’s The Hours (2002) is an adaptation of Michael Cunningham’s The Hours: The Novel (1998), which recreates Virginia Woolf’s Mrs. Dalloway (1925). In Daldry’s film, as in Cunningham’s novel, Woolf herself appears as a character, and we are introduced to different versions of Clarissa Dalloway in different periods. In this unique postmodern text, the characters resemble one another, each becoming someone else’s reference. In a way, all of them are trapped in time—either the present or the past—and cannot move on with their lives. Virginia, a writer in the 1920s UK, suffers from depression surrounded by the stifling patriarchal medical authority; Laura, a lesbian housewife living in LA in the 1950s, feels suffocated in her heterosexual marriage; Clarissa, a lesbian book editor in 2000s New York, is still caught up in the memory of her unfulfilled love of a long time ago. This paper discusses how the film narrativizes and visualizes the characters’ feelings of confinement not only through the unique storyline and characterization but also through specific film techniques. It also analyzes how the characters’ acts of creation such as cooking or writing are portrayed as important methods of enduring and escaping time.
Abstract
Stephen Daldry’s The Hours (2002) is an adaptation of Michael Cunningham’s The Hours: The Novel (1998), which recreates Virginia Woolf’s Mrs. Dalloway (1925). In Daldry’s film, as in Cunningham’s novel, Woolf herself appears as a character, and we are introduced to different versions of Clarissa Dalloway in different periods. In this unique postmodern text, the characters resemble one another, each becoming someone else’s reference. In a way, all of them are trapped in time—either the present or the past—and cannot move on with their lives. Virginia, a writer in the 1920s UK, suffers from depression surrounded by the stifling patriarchal medical authority; Laura, a lesbian housewife living in LA in the 1950s, feels suffocated in her heterosexual marriage; Clarissa, a lesbian book editor in 2000s New York, is still caught up in the memory of her unfulfilled love of a long time ago. This paper discusses how the film narrativizes and visualizes the characters’ feelings of confinement not only through the unique storyline and characterization but also through specific film techniques. It also analyzes how the characters’ acts of creation such as cooking or writing are portrayed as important methods of enduring and escaping time.
참고문헌 (23)
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