임권택과 미조구치 겐지(溝口健二)의 작품 비교 -《아제아제 바라아제》와《오하루의 일생》를 중심으로-

Abstract

Director Im Kwon-taek and director Mizoguchi Kenji are film directors representing Korea and Japan, respectively. These two men focused on women's lives as well as feminist film directors. Critics of Korea and Japan point out a lot of similarities between these two directorial works, especially the similarities of female portrayals. The "Come, Come, Come Upward" by Im Kwon-taek and "The Life Of Oharu" by Mizoguchi Kenji have many similarities. The similarity is that both work on women's tragic life, and that tragedy is due to the men who intervene in their lives. The second is that the Buddhist atmosphere in the background of the film is dependent on Buddhism to solve the conflict. The third is that the process of the suffering of the main characters of the two films comes from the social structure and the absurd reality, and the fourth is the technique similarity of the film Long Take. However, this similarity has the same characteristics as the difference and the two sides of the coin. In the case of "Come, Come, Come Upward," she takes a position to confront the situation of a woman who is a female heroine, while the actress O Hoon of "The Life Of Oharu" is depicted as a victim of society. The second Buddhist view of the world is that the former is a massive performance for the salvation of the world beyond itself, while the latter chooses the world of the primitive man to save himself. The third is the reality of the two films. If the former confronts the reality with a macroscopic view and seeks the direction of its dissolution, the latter stare at the contradictions and vagaries and appeal to the audience. As mentioned above, this study presented the concrete basis of the similarities and differences held by the two works, and tried to present the direction of accurate evaluation that guarantees the concrete beyond the emotional dimension.