대런 아로노프스키 영화의 편집 기법 분석 - 레퀴엠을 중심으로 -

Abstract

This is a thesis that aims to look into how Darren Aronofsky would edit films as focusing on a movie named <Requiem For A Dream>(2000). Darren Aronofsky worked on the film, <Requiem>, with these original and creative editing omission, time simultaneity as well as picture division to highlight mentalities of characters and these sounds, music and various cross cuttings to be used for induced motivation have maximized dramatic tension and visual effects as well. In addition, as he controlled lengths and speeds of images which would be accompanied by extreme close ups, he pursued diversity of editing after creating rhythmic patterns. Working on the filmography that includes <Requiem>, this study categorized all these different types of editing skills and understood historic traces of editing. The study also aimed to discuss characteristics and inherent meanings of each trace while trying to figure out trends and directions of editing styles which would change with the times. Since ‘cutting’ that had begun to simply connect a shot to another in early films was conceptualized as this term, ‘editing’, by D.W. Griffith from the USA the father of filmart, editing thas been going through each development long enough until Darren Aronofsky after periods of the Soviet Montage trend, Nouvelle Vague and American New Cinema in the 1960s. This study forecasts that in the future, the film media will be accelerated in association with science and that forms of film languages as well will evolve to keep up with environmental changes in the times. This study appears to be academically significant it that it has investigated film editing styles of Darren Aronofsky who had founded his own visual characteristics and original editing styles that would fit the trends.