사실주의 영화에 나타난 카메라 움직임 연구- 영화 <자유의 언덕>을 중심으로

Abstract

There are various visual elements in films through which the director can show his own intention. Since a film is the product of the mechanism that is shot using a camera, the movement of the camera can be said to be one of the most visual elements that the director can utilize. This study will survey the movement of the camera among various visual elements that the director can utilize in his production of films. First of all, this study will examine the creation and function of the camera and analyze through a film, how the movement of a camera which can actively reflect the expressive intentions of the director can be utilized in realism films. Many film directors utilize the movement of cameras to express his intention visually. Especially, as the cameras become small sized and various additional equipment are developed along with the digital development today, the movement of the camera is being utilized more widely. The various movements of the camera not only provides visual abundance to the screen, but also creates new emotions. Thus, these camera movements more effectively convey the director’s intentions and help the audience to be immersed easily into the scenes. However, excessive or inappropriate use of the camera movements in realism films shows subjectivity of the director, which reduces the natural emotions within the movie. This does not mean, however, camera movements should not be used in films, as they are the products of the camera mechanism. How directors deliver their intentions through the effective movement of the camera without harming the realistic emotions is crucial. <Hill of Freedom> directed by Hong Sang-Su uses a different style of camera movements from typical realism films to effectively express the director’s intentions and capture the realism emotions. The purpose of this study is to examine how camera movements are used in the realism film and their roles within it.