전기 영화(Biographical film)의 지표적 도상성 - 례프 톨스토이에 대한 영화화를 중심으로
Indexical Iconicity in Biographical Films - Focusing on the Cinematic Representation of Lev Tostoy
0
조회
0
다운로드
1
인용
0
참고문헌
키워드
초록
Ever since the beginning of making cinema in Russia, cinematography had been attempted to take pictures of Leo Tolstoy. Tolstoy’s dramatic life and immediately recognizable face became a object of visualization in various biographical films. In this article, focusing on biographical films about Tolstoy, I tried to analyze cinematic iconicity with the indexical relations of photographical image. According to Charles Sanders Pierce and André Bazin, photography and photographical image have a distinctive characteristic of indexical iconicity, which includes at once index and icon in representation. Accordingly, in biographical films, which have a prototypical image of real person, the question of iconicity implies a complicated character. If real person, Tolstoy himself had been included in biographical films, his images in the film could be considered as a indexical iconicity, because it carries with it more than mere resemblance, more correctly more than its tracing. On the other hand, if actor plays a role of Tolstoy and the same time filmic images of real Tolstoy had been inserted, the images of Tolstoy bear a peculiarity of analogous-indexical iconicity, because real images of Tolstoy provide basis of consideration that those images of two person are almost same. At the end, in such dramatic biographical films, in which just actor plays a role of Tolstoy, remains only iconicity without indexical characteristic that is based on the external similarity.
Abstract
Ever since the beginning of making cinema in Russia, cinematography had been attempted to take pictures of Leo Tolstoy. Tolstoy’s dramatic life and immediately recognizable face became a object of visualization in various biographical films. In this article, focusing on biographical films about Tolstoy, I tried to analyze cinematic iconicity with the indexical relations of photographical image. According to Charles Sanders Pierce and André Bazin, photography and photographical image have a distinctive characteristic of indexical iconicity, which includes at once index and icon in representation. Accordingly, in biographical films, which have a prototypical image of real person, the question of iconicity implies a complicated character. If real person, Tolstoy himself had been included in biographical films, his images in the film could be considered as a indexical iconicity, because it carries with it more than mere resemblance, more correctly more than its tracing. On the other hand, if actor plays a role of Tolstoy and the same time filmic images of real Tolstoy had been inserted, the images of Tolstoy bear a peculiarity of analogous-indexical iconicity, because real images of Tolstoy provide basis of consideration that those images of two person are almost same. At the end, in such dramatic biographical films, in which just actor plays a role of Tolstoy, remains only iconicity without indexical characteristic that is based on the external similarity.
참고문헌 (27)
- 알렉산드르 드란코프, "야스타야 폴랴나에서 톨스토이의 마지막 날들 Последние дни пребывания Л. Н. Толстого в Ясной Поляне", ~ (1910)
- 야코프 프로타자노프, "위대한 노인의 떠남. 례프 톨스토이의 삶 Уход великого старца. Жизнь Л. Н. Толстого", ~ (1912)
- 에스피르 슈브, "니콜라이 2세의 러시아와 톨스토이 Россия Николая II и Л.Н. Толстой", ~ (1928)
- "교육 영화보관소. 문학. 례프 톨스토이 Учебная фильмотека. Литература. Лев Толстой", ~ (1961)
- 세르게이 게라시모프, "례프 톨스토이 Лев Толстой", ~ (1984)
- 빅토르 티호미로프, "B. G. 례프 톨스토이 Б. Г. Лев Толстой", ~ (2002)
- 알레브티나 쿠조벤코바, "례프 톨스토이 Лев Толстой", ~ (2004)
- 갈리나 예브투쉔코, "간이역－례프 톨스토이에 대하여 Полустанок-о Льве Толстом", ~ (2007)
- 마이클 호프만, "마지막 기차역 The Last Station", ~ (2009)
- "례프 톨스토이, 살아있는 천재 Лев Толстой: Живой гений", ~ (2010)
- 로잘린드 크라우스, "사진, 인덱스, 현대미술" (2003), 궁리
- 롤랑 바르트, "밝은 방. 사진에 관한 노트" (2006), 동문선
- 수잔 손택, "사진에 관하여" (2005), 시울
- 남인영, "보이는 것의 날인" (2003), 한나래
- Aleksandra Tolstaya, "The Tragedy of Tolstoy" (1933), G. Allen & Unwin
- André Bazin, "What is Cinema, Vol. I" (1967), University of California Press
- Charles Hartshorne, "Collected Papers of Charles Sanders Peirce, Vol. I∼VIII" (1974), The Belknap Press of Harvard University Press
- Christian Metz, "Some Points in the Semiotics of the Cinerna, In Film Theory and Criticism: Introductory Readings, 5th edition" (1999), Oxford University Press
- Peter Wollen, "Signs and Meaning in the Cinema" (1972), Indiana UniversityPress
- Tom Gunning, "The Cinema of Attractions. Early Film, Its Spectator and the Avant-Garde, In Early Cinema: space, frame, narrative" (1990), BFIPub
- Ершова, Е. О, "ред. Лев Николаевич Толстой в изобразительном искусстве" (1979), Изобразительное искусство
- 라승도, "톨스토이는 어떻게 시각화되었는가? - 톨스토이 삶의 영화적 재구성", 슬라브학보, 26(2), pp.41~64 (2011), 한국슬라브학회
- 박연규, "퍼스기호학에 있어 도상기호icon의 재현성- Joseph Ransdell의 논의를 중심으로 -", 기호학 연구, 2(16), pp.101~145 (2004), 한국기호학회
- Jonathan Friday, "André Bazin’s Ontology of Photographic and Film Imagery", The Journal of Aesthetics and Art Criticism, 64(4), pp.339~350 (2005)
- Michael Denner, "Be not afraid of greatness...: Leo Tolstoy and Celebrity", Journal of Popular Culture, 42(4), pp.614~645 (2009)
- "Папа папарацци"[URL]
- James Monaco, "How to Read a Film" (1977), Oxford University Press