네오리얼리즘의 미학적 지향에서바라본 장률의 영화미학

Abstract

This paper attempts to look into filmmaker Zhang Lu’s aesthetics through Italian Neo-realism. Neo-realism tried to break from the narrative-centric strategy of Classical realism and place unedited real life on the screen. This orientation tends to remove mis-en-scène, interpretation(acting), and narrative from film. André Bazin called this aesthetic orientation of Neo-realism towards new reality phenomenological realism. It is here where Zhang Lu’s film aestheticsis located. Zhang Lu wants to present reality as it is through his film. This is why the paper attempts to research into Zhang Lu’s film aesthetics within the framework of Neo-realism’s aesthetic orientation. This paper looks through the space, character, camera, and narrative structure of Zhang Lu’s films. The space of Zhang Lu’s film is not just a background of events. It is the event itself. Space becomes a filmic entity that interacts with characters and camera in Zhang Lu’s film. To make space a filmic entity,Zhang Lu’s film use long take and long shot. Actors are not requested to act in Zhang Lu’s film. They are requested to be as they really are. They are in a form of the rhythm of motion and voice in Zhang Lu’s film. Zhang Lu’s camera has a kind of self-consciousness. And it also reflects characters’consciousness. So we can say Zhang Lu’s camera is a kind of a semi-subjective consciousness. Lastly the narrative of Zhang Lu’s films is not composed of cause and effect. It is composed of casual encounters. This gives each scene of Zhang Lu’s film greater autonomy in its life. From above discussion, we can find out that ZhangLu’s film is not oriented towards narrative, but oriented towards experience of reality itself. And this is the reason why we can locate Zhang Lu’s film 88 일반논문현대영화연구 Vol. 16 2013aesthetics in the aesthetic orientation of Neo-realism, phenomenological realism. There are differences not to be ignored between Zhang Lu’s film and Neo-realism as a historical trend of film. But from a viewpoint of aesthetic orientation, the two can communicate with each other.