영화의 움직임과 시간, 서사구조에 대한 연구- 벨라 타르의 <사탄탱고>를 중심으로

Abstract

If the modernity of the movie started from relieving the heavy burden of narrative and directly thinking about time, Béla tarr can be seen as an artist and philosopher who embodied the time-image in the body and landscape. <Sátátangó> is a masterpiece of that Tarr's radical ideas of cinematic form achieved from his stubborn effort. In the film, he succeeded in breaking the existing frame of thought and creating a new thought-image through the extreme duration of shots, the movement of slow-moving cameras, the structural completion of circular narratives form, poetic dialogues, meteorological expressions, and distance that obscures the represented reality. The contradictory themes of “human dignity” and “degradation of humanity,” which are repeated in Béla tarr's films, were born as modern fables with strict formal structures and sophisticated skills to materialize time through the absence of narratives. His works have a seasonality that returns repeatedly on a single theme. From the first work “Family Nest” to the last work “The Turin Horse,” the characters in desperate situations move forward with hope of improvement, but eventually return to a more desperate ending than the first. The characters in the film are the ones who fall into the trap. Allegorically textured figures with the characteristics of “madman”or “idiot” are isolated from the community and have an “outside view.” They are peepers. They are those who watch over windows, behind walls, in front of desks, and in a dark shadow, as communities in crisis fall for false promises or fall for themselves. As a result, however, they are also forced to be embroiled in the fate of corruption. Most prominent thing in <Sátátangó> is longtake shots that maintain a long duration. A camera that captures the body of a person and its movement, the arrangement and condition of things, and changes in light and weather in real time delays the narrative and imprints the image at the point where the material and time meet. This is the moment when the time-image proposed by Gilles Deleuze as a dividing point for modern films is expressed. Slow-moving cameras provide plenty of time for every detail that takes place within the screen. <Sátátangó>'s camera moves slowly as if floating in a spatiotemporal continuum, connecting space and time, and portraying the body and object on an equal footing. This slow pace draws attention to the body, matter, and time where the narrative stops and creates a new space for thought outside the narrative. <Sátátangó> is an alternative to traditional films that use the fantasy provided by the story to paralyze the audience, allowing them to vividly experience what the world in the movie is like, live in it, and invite them to the film's autonomous thinking-possibility.