에이젠슈테인 영화에 나타난 문제-공간의 연출 방법론 연구

Abstract

The purpose of this study is to investigate how Sergei Eisenstein (Сергей Эйзенштейн) directed cinematic scenes through the concept of problem-space. Problem-space refers to ‘a space with a dominant element that captures the attention of audience’ or ‘a topos where a dominant element is assigned.’ Despite being an important part of the cinematic aesthetics of Eisenstein, there were little studies conducted on the field of problem-space. Through the studies on Eisenstein’s aesthetic spatial direction, this study attempted to present a new approach and interpretation on the films of Eisenstein. Eisenstein’s problem-space was analyzed in the following areas. First is the principle of centering. Contrary to the existing European or traditional Hollywood films, this created a unique aesthetic of mise-en-scene through negative spaces that arrange characters evenly in the center and edges of a frame or emptying the center. Second is the ideology of place. This analyzes the problem-space of the top and bottom within a frame. Eisenstein expressed a political hegemony in the relationship of top and bottom. The top is the ruler, or the totalitarian regime of Russia, and the bottom symbolizes the ruled, or the general public. Third is the aperture framing. Usually in cinematic traditions, the aperture framing is often used for emphasizing characters in the background, but Eisenstein attempted to produce the excess of expressionism forms through frame-in-frame. Fourth, staging of depth omitted the middle ground and pursued traditions of two-dimensional paintings and films through the contrast of the foreground and background. Such extreme flatness resulted in the caricature of characters and symbols of critical satire. Fifth is the foregrounding of settings. This examined how spaces such as the sky, land, sea, etc. that were often presented as backgrounds in Eisenstein’s films were projected as characters. This study compared the problem-space created by Eisenstein with the cinematic traditions of Europe and the US to analyze various directing methods. Through such analysis, it was possible to open a new prospect on the core spatial direction for understanding the mise-en-scene world of Eisenstein.