<옥희의 영화>의 인물과 시간 구조
The Structure of Character and Time in the Film <Oki’s Movie>
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Hong Sang Soo`s film establishes the unique everyday life based on repetition and variation. From early works, his film has been tended to pursue an insatiable desire eliminating a special significance. The regular attempt describing an everyday affair engenders some subtle differences among his films over the 15-year period. is the essence of director`s continuous intention. In the film , the characters are divided into multiple figures and the current time acquires the deviation toward new order. Because of the preconceived idea of time, this film is recognized as a serious confusion to grip the straightforward process of narrative. Included here are all four episodes, the director is trying not to correlate the four sets of episodes. The emotion in narrative seems to cohere throughout the whole film, but the relationships between characters are overlapped to extend illogically. If you stick to three-dimensional perception, you cannot enter the future following Hong Sang Soo`s new world.
Abstract
Hong Sang Soo`s film establishes the unique everyday life based on repetition and variation. From early works, his film has been tended to pursue an insatiable desire eliminating a special significance. The regular attempt describing an everyday affair engenders some subtle differences among his films over the 15-year period. is the essence of director`s continuous intention. In the film , the characters are divided into multiple figures and the current time acquires the deviation toward new order. Because of the preconceived idea of time, this film is recognized as a serious confusion to grip the straightforward process of narrative. Included here are all four episodes, the director is trying not to correlate the four sets of episodes. The emotion in narrative seems to cohere throughout the whole film, but the relationships between characters are overlapped to extend illogically. If you stick to three-dimensional perception, you cannot enter the future following Hong Sang Soo`s new world.
참고문헌 (16)
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- 남다은, "인생처럼, 영화를 살아내다", 씨네 21, ~ (2010)
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- 이재원, "<제16회 BIFF> 이자벨 위페르 “홍상수감독 영화 찍고 더 존경스러워”", 한국일보, ~ (2011)
- 이효정, "영화적 재현과 현실의 관계 - 홍상수와 변혁의 영화를 중심으로", 영상예술연구, (6), pp.155~178 (2005), 영상예술학회
- 장병원, "당신의 해석을 기다리며", 씨네 21, ~ (2010)
- 정한석, "아무것도 아닌 그러나 신비하기 이를 데 없는", 씨네 21, ~ (2010)