영화 '스토커'에서 나타나는 색채 이미지 분석 - 내러티브 구조에 따른 색채 이미지의 기능과 역할 -

Abstract

Background: Contrary to popular belief, color in film does not necessarily, or only, conveys an exclusive meaning, but actively participates in constructing narratives. That is, color is not just props to create aesthetic patterns, but a main element in, thus conveyor of, the main theme of the film. Especially in narrative films in which a plot centers on characters and backgrounds, color directly ties to the psychology of the characters or a series of scenes leading up to the ending of the narrative. Methods: This study centers on three-layered methodology, the first of which provides theoretical backgrounds on color along with the analysis of symbolic and associative meanings of colors used to construct the narrative structure of the film. The second features the analysis of the image scale model by looking into languages and images found in the color narrative, and the final examines the process of organizing and embodying color semantics in the narrative structure. Result: Aforementioned steps eventually come to three conclusions: color is a main element to segment the narrative; color is of great importance for the plot formation; finally it symbolizes the change of the character psychology, and of situation, which is particularly effective in describing information and the emotional state of the character. Conclusion: Colors in the film stalker were systematically planned, produced and placed. Here in the film they refuse to remain just an objet buried underneath the story, but rather ‘narrate’ the story and lead it to the narrative structure. In stalker, color is a metaphorical expression of the importance of self-existence, and also the inherent desire to express it especially when feeling down to a mere being in human family, social and cultural relations.