다르덴 형제의 영화 공간 연구
A Study of the Dardenne Brothers’ Cinema Space
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초록
The Dardenne brothers creates an ensemble with the protagonist and an objectlocked together: the boots in <Rosetta>, the belt and the measuring tape in <The Son>,the pram in <The Child>. They thus reinforce the sense of cinema by highlightingmeaning of object. The things could be the objects or the space : the boots, the belt, thepram, the crumpled corners of the city, the river bank or the left-over strips of forestneighbouring the motorway. They are complementary relation to and affected. Thisrelation makes ontological meaning of characters’ weight of a quaint life. These left-over spaces function in relation to the gestures and the objects portrayedin the films, the Dardenne brothers’ cartography coming into existence once theseprotagonists are anchored, or embedded in a specific environment. This is anenvironment which they define and which in turn defines them. The left-over spaces inDardenne films can only be understood in this dual productive relationship. The intensity of the Dardennes’ cinema space is extended by the gestures, andobjects which are extended by silence. Through this, the audience Changes actively. Theaudience can think about what lies behind walls, look over shoulders and imagine theoutside of the frame that can perhaps explain the complex facial features of all thecharacters. Thus, the Dardenne brothers open up the space of resistance and protest.
Abstract
The Dardenne brothers creates an ensemble with the protagonist and an objectlocked together: the boots in <Rosetta>, the belt and the measuring tape in <The Son>,the pram in <The Child>. They thus reinforce the sense of cinema by highlightingmeaning of object. The things could be the objects or the space : the boots, the belt, thepram, the crumpled corners of the city, the river bank or the left-over strips of forestneighbouring the motorway. They are complementary relation to and affected. Thisrelation makes ontological meaning of characters’ weight of a quaint life. These left-over spaces function in relation to the gestures and the objects portrayedin the films, the Dardenne brothers’ cartography coming into existence once theseprotagonists are anchored, or embedded in a specific environment. This is anenvironment which they define and which in turn defines them. The left-over spaces inDardenne films can only be understood in this dual productive relationship. The intensity of the Dardennes’ cinema space is extended by the gestures, andobjects which are extended by silence. Through this, the audience Changes actively. Theaudience can think about what lies behind walls, look over shoulders and imagine theoutside of the frame that can perhaps explain the complex facial features of all thecharacters. Thus, the Dardenne brothers open up the space of resistance and protest.
참고문헌 (6)
- 앙리 레파브로, "공간의 생산" (2011), 부산대학교 한국민족문화연구소
- 이지훈, "존재의 미학" (2008), 이학사
- 질 들뢰즈, "시네마2 : 시간-이미지" (2005), 시각과 언어
- Bert Cardullo, "Committed Cinema" (2009), Cambridge Scholars
- Luc Dardenne, "Au dos de nos images-On the back of image" (2008), Seuil
- Sarah Cooper, "Mortal Ethics: Reading Levinas with the Dardenne Brothers", Film-Philosophy v, 11 (2007)