영화분석 방법론으로서 기호학과 해석학의 접목: 영화 <레미제라블>의 시각 정체성과 서사 정체성을 중심으로

Abstract

This paper analyzes Tom Hooper's film <Les Miserables> using a methodology that combines scientific analysis with humanistic interpretation. Scientific analysis uses Jean-Marie Floch's visual semiotics as a methodology, and humanistic interpretation uses Paul Ricœur's hermeneutics. Specifically, it is a methodology that integrates Floch’s visual identity and Ricœur’s narrative identity. This paper analyzed the story of <Les Miserables> in a synchronistic dimension to derive the discourse structure and the narrative-semiotic structure. Also, by analyzing the images of the film, this paper derives the visual identity and the semi-symbolic system. Through this, this paper discovered the theme of the film, love and mercy and the deep meaning, the harmony of nature and culture underneath the theme. The narrative identity of <Les Miserables> is a dialectic of personality and self-preservation that is exposed through the plot of Jean Valjean’s becoming a new person by breaking with the existing personality. And the integration of the heterogeneity that emerges from the plot where the world of Jean Valjean and the world of Javert are finally united is also the narrative identity. This is connected with the harmony of nature and culture. This paper analyzes Tom Hooper's <Les Miserables> in comparison with the previous film, Bille August‘s <Les Miserables>, and found that the Hooper’s film reversed the visual form of the predecessors to differentiate its own identity. It could be regarded as Levi-Strauss’s the interesting semiotic phenomenon. In this way, this paper can have the meaning of pursuing a new possibility of film analysis that integrates natural science and the humanities. In the future, it will be necessary to secure the universality of the methodology by analyzing more diverse films.