브루노 뒤몽 영화에서의 사실주의

Abstract

There are many arguments about the category of cinematic realism since the classicism of Aristotle. Realism in film is now widely accepted to be completed by the repetition of signs or symbols. Above all, this paper concentrates on the introduction of the Realism in films of Bruno Dumont who is one of the remarkable French directors in 21th century. If Gilles Deleuze or Arnold Hauser classify films of Dumont, they will treat them a part of naturalism. Cinematic naturalism projects realities onto ‘affects’,however Dumont’s are not. His works conceal sentiments of characters. The submerged sentiments show themselves in realism through ‘Signifiant’ mentioned by Saussure. In this context, we can judge his cinematic realism within the framwork of semiotics. The biggest example would be a usage of ‘Metaphor’. Bruno Dumont never use flashback. When his character is nearby his past, he never enter in. Instead, trough each sequence, he build traces of the past. Meraphor is derivable from films inside. On the one hand, there is another tendency for semiotics in Dumont’s. That is to say ‘Metonymy’. It is derivable from films outside. Metonymy does not come to the front, but recognized finally in the head of audiences. According to Christian Metz, characters and audiences are kinds of mixed places between langage, narration, specific codes and not-specific codes. Therefore audiences are also a part of the cinematic realism in Dumont’s. For study these metaphor and metonymy, this paper goes into details dual significations in Dumont’s and roles of audiences as a frame.