현대영화의 ‘파편화(fragmentation)’의 서사적 효과 연구 -페드로 코스타, 장-뤽 고다르, 요한 반 데르 퀘켄의 영화를 중심으로-

Abstract

The subject of this research is how modern film’s important form, “fragmentation” modifies a filmic narrative world. The fragmentation is an opposite concept of the totality which exists as a preconceived idea. The filmic totality means a narrative world which is consisted of continuous space and time, and cause and effect course. However, the fragmentation breaks down the entire narrative world and reconstructs the new narrative through deconstruction, thus the study of the fragmentation represents a discussion about deconstruction and reconstruction. Therefore, this study examines how various fragmentation forms in modern films that break and reconstruct the narrative world through observing several examples. First of all, this study observes some thinkers’ thoughts that express the general discussion. Some of the specific examples of the study are Pedro Costa’s film <Ossos>(1997), Jean-Luc Godard’s <Pierrot le Fou>(1965), and Johan Van der Keuken’s <Un Moment de Silence>(1960). The fragmentation of these films is deconstructed and reconstructed in diverse ways. However, the styles of the fragmentation appear differently according to the differences of the film directors’own philosophy. For instance, Costa’s fragmentation pursues an accumulation of fragments of reality based on one diegesis and has phenomenological features. On the other hand Godard’s fragmentation is characterized by a multilayered discourse, which emphasizes the multiple diegeses and film as a metalanguage. Lastly, Van der Keuken demonstrates one layered fragments of sense that the diegesis is totally disappeared. Modern film’s fragmentation rejects a clear narrative line which is pursued by the narrative - centric strategy of Classical realism. The reason why modern film’s fragmentation modifies the narrative is that the clear narrative limits filmic values. For instance, the reality of a poor village of Lisbon’s suburb in Costa’s film, or Godard’s metalanguage, or Van der Keuken’s sensible reality are the filmic values that can’t be reached by one clear narrative. The modern film’s fragmentation is a cosequence of the film form by cineastes who pursue something beyond the narrative. Therefore, the study of the modern film’s fragmentation is a process of understanding of the filmic value that exists beyond the narrative.