필립 말로우, 기사도와 반영웅의 재현: 레이먼드 챈들러의 『기나긴 이별』과 로버트 알트만의 〈긴이별〉을 중심으로

Abstract

This paper examines the social context and implications of each work through the comparison of Philip Marlowe with the periodicals expressed in Robert Altman's The Long Goodbye (1973) and Raymond Chandler's 『The Long Goodbye』 (1953). In 1973, Raymond Chandler's 1953 film was filmed in Hollywood, USA, but it is not intended to enjoy cinematic success by borrowing masterpieces of hard-boiled mystery novels. Therefore, it is necessary to examine the social context along with the American value of each work at the time of production, and to pay attention to whether The Long Goodbye has the intention to overthrow the purpose and context of the original work. For this purpose, the change of American values was grasped, and the characters and social and political situations revealed in each text were noted to examine how The Long Goodbye de-historicized and changed the historical context of 『The Long Goodbye』. Philip Marlowe in Raymond Chandler's 『The Long Goodbye』 has romantic chivalry in a dark and corrupt reality and tries to keep moral purity. It is expressed as a white man who is a somewhat cynical peripheral figure, but who can eventually solve the case and have awe. The wicked represent those who have accumulated wealth through capitalism and rapid industrialization, and the fall of morality accordingly. The wickedness he depicts can be seen as a by-product of a corrupt society and a product of corrupt and incompetent public power, which is also linked to the turmoil of American society from the 1930s to the 1950s. On the other hand, Robert Altman's The Long Goodbye can be seen as a good example of de-historization according to the times by borrowing the narrative and plot of Chandler's 『The Long Goodbye』, which has previous conservative values. The typical white private detective of the hard-boiled mystery novel was set as a Jew, and the expression of the wicked was changed in three dimensions.It is a problem that can not be easily attempted if there is no understanding of society that naturally dissolves the distrust of social change, side effects, and public power in the film. Each text is linked to the issues of American society and the identity confusion of American values. In addition, Robert Altman's de-historicization through the modernization strategy of adaptation can be seen as a new birth of Philip Marlowe, who represents the counterculture created during the period of resistance, overturning the hard-boiled mystery novel and film noir character.It attempts to overthrow the older generation and cinematic conventions and practices self-reflection through it, overthrowing another formality and intention of 『The Long Goodbye』 that overthrew the formalization of the 1940s, and creating new values and meanings.