마술로서의 영화-2000년대 영화의 마술적 리얼리티. <내적 안정>과<남아있는 시간>을 중심으로-
Filmic Magic -The Magical Reality in the Films of the 2000s focusing on Die innere Sicherheit and Le Temps qui reste-
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This paper explores the magical realism in the films of the 2000s. Magical Realism appears as the psychological representative mode in the contemporary cinema. It represents the state of mind of the protagonist in the films. This works in the way how the unreal and the impossible are presented as the real and the possible and the magical reality germinates from that. The recipient takes it for acceptable and can understand the protagonist better through that. Magical realism uses the spatial and temporal manipulation. Die innere Sicherheit directed by Christian Petzold manipulates the space in order to represent the mind of a homeless girl, the protagonist in the film. The german film takes her into a luxurious house and lets her stay there one night long in the way of magical realism. Le Temps qui reste directed by François Ozon manipulates the time in order to represent the mind of an seriously ill young man, the protagonist in the film. The french film gives him the time of his boyhood back in the way of magical realism. This cinematical way can be called as “filmic magic”, because the film acts like the magician, while it fulfills the wish of the protagonist. This makes the cinematical solution to the troubles that the protagonists confront. This magical realist camera identifies at the same time the mind of the film audience, who is sympathetic to the protagonists and wants to help them. Magical Realism in the Films of the 2000s makes the new way of reality through integration of the real and the unreal. Mircea Eliade’s religious philosophy explains this way of magical realism in the films very well, while the process of “Hierophanie” is equivalent to the process of the magical realism.
Abstract
This paper explores the magical realism in the films of the 2000s. Magical Realism appears as the psychological representative mode in the contemporary cinema. It represents the state of mind of the protagonist in the films. This works in the way how the unreal and the impossible are presented as the real and the possible and the magical reality germinates from that. The recipient takes it for acceptable and can understand the protagonist better through that. Magical realism uses the spatial and temporal manipulation. Die innere Sicherheit directed by Christian Petzold manipulates the space in order to represent the mind of a homeless girl, the protagonist in the film. The german film takes her into a luxurious house and lets her stay there one night long in the way of magical realism. Le Temps qui reste directed by François Ozon manipulates the time in order to represent the mind of an seriously ill young man, the protagonist in the film. The french film gives him the time of his boyhood back in the way of magical realism. This cinematical way can be called as “filmic magic”, because the film acts like the magician, while it fulfills the wish of the protagonist. This makes the cinematical solution to the troubles that the protagonists confront. This magical realist camera identifies at the same time the mind of the film audience, who is sympathetic to the protagonists and wants to help them. Magical Realism in the Films of the 2000s makes the new way of reality through integration of the real and the unreal. Mircea Eliade’s religious philosophy explains this way of magical realism in the films very well, while the process of “Hierophanie” is equivalent to the process of the magical realism.
참고문헌 (22)
- Christian Petzold., "Die innere Sicherheit" (2000)
- François Ozon, "Le temps qui reste" (2005)
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