스토리텔링 기술로서의 롱테이크 활용에 관한 연구

Abstract

In film history, ‘long-take’ as a skill of film directing may be the oldest photographing skill since the invention of Cinematograph made by the Lumiere brothers in France in 1895. Of course, Georges Melies' film <Trip to the Moon> (1902) was almost contemporarily made as the beginning of formalist films, but many of the first films were made of sequence shots without editing techniques, so they had to have long-take properties regardless of length. After the short was segmented by David W. Griffith and editorial techniques became a full-fledged directing technology through the era of Soviet montage, the term "art of editing" has become a common idiom. However, along with Andre Bazin's theory, efforts to inherit the tradition of realism have also continued, and 'long-take' skill as a representative way to secure its realism is still valid to this day. As of 2021, due to the development of numerous grip equipment and cameras, and advances in CG and editing technology, long-take is no longer attributed to the style of realism and formalism in film production. It can be said that it is an era in which long-take is studied and developed as a way to reveal the director's own personality and style by numerous directors. This study compares Laszlo Nemes' 2016 work, <Son of Saul> and Sam Mendes' 2019 work, <1917> to examine how the director uses long-take technology in his language, and in addition, Alejandro Gonzale Iñárritu, <Birdman> 2014.