영화 <경멸 Le Mepris>의 디스포지티브와 자기반영적 전략 연구

Abstract

Jean-Luc Godard’s <Le Mepris>(1963) is an adaptation of Alberto Moravia’s ninth novel Il disprezzo(1954), and at the same time, it is a work that welcomes Roberto Rossellini’s movie <Viaggio in Italia>(1953). Godard’s <Le Mepris> is considered to be the most radical and active use of the subject of self-reflection. Godard composes a movie by using the mise en abyme cast structure, which plays an important role in ‘the film in the film’. This reveals the fictitiousness of the film and the non-fictitiousness of the dispositif through the process of film, reality, and feature film production, which can be said to break down the dominant ideology of the film. The specific self-reflection strategy of <Le Mepris> can be divided into three major strategies. The first strategy is the use of mise en abyme. By showing the production process and screening of the <Odyssey> ‘movie in the movie’, it replaces the dispositif of the movie as a means of exposing ideology. This strategy strengthens the criticism of the ideology of the film, while causing the audience to recognize the big system that dominates the film production. The second strategy is the decontextualization of the original through adaptation. Godard changes the name and nationality of the character and compresses the time of the play while maintaining the theme, narrative structure, and space of the original work, and also transforms the narrative into tragedy and shows the production process of the film <Odyssey>. The production process of <Odyssey> is not revealed in the original work. This is because, unlike the original work which focused on the emotions between the couple, it focuses on the ‘film’ itself, which acts as a strategy to criticize the Hollywood system and capitalist ideology. The third strategy is intermediary with other media. The citation of literary works, the fusion and transformation of art and film can be seen as a transformation of dispositif, a rejection of Hollywood film production methods, and a strategy of arranging heterogeneous elements that distort the conventions of Hollywood movies. In addition, each media in the film not only composes the scene of the film, but also produces meaning through criticism and self-reflection of the creator, and is deeply involved in the abyss of the interaction between the film and the audience. Intermediality with other media used as a transformation of dispositif can be said to be in contact with Godard’s cinematic strategy and self-based spirituality as a strategy to dismantle dominant ideology. Such a self-reflective strategy hinders the capture of the dominant ideology due to the ideological effects of the film dispositif, presenting the movie image of the new reality itself to the audience, and can be seen as a criticism of the film industry and production and a field of self-reflection.