포스트모더니즘과 연극형식의 영화에 관한 연구 - <요리사, 도둑, 그의 아내 그리고 그녀의 정부>와 <도그빌>을 중심으로 -

Abstract

Postmodernism is the spirit of the times we should observe. This is because it made a huge difference of lifestyle, architecture, music, and fine arts. The contingency, disorder, irony emerged as the characteristics of postmodernism and crumbling between genres, intertextuality and self-reflexivity became a part of postmodernism. This study focuses on the analysis of <The Cook, the Thief, His Wife, And Her Lover>, <Dogville> which are seeking a novelty and aesthetic experiments through postmodern elements and theatrical forma of Bertolt Brecht such as alienation and exposing theatrical techniques. Two films have a lot in common which passes themes and narratives through theatrical form and creates postmodern images of the cinematic space. The two works are all that have the characteristics of revenge should be noted. In <The Cook, the Thief, His Wife, And Her Lover>, the thief murders his wife's lover and thief's wife kills the thief for revenge of her lover. In <Dogville>, angelic Grace who has been persecuted by villager avenge them brutally. The director of <The Cook, the thief, His wife, And her Lover>, Peter Greenaway recognizes his film is a 17th-century tragic revenge, as well as a partially political film. It can be regarded as a fetish or nostalgia about unbridled spending culture of Britain's Margaret Thatcher regime in 1980's. As the first film of Lars Von Trier's' American Trilogy, <Dogville> deals with American capitalism and the properties of the imperialism. Through theatrical form these works expose fictional irony, make a mistake of watching film, and keep the distance between the audience and the film. These works also show harmony that can not be in harmony with the characteristics of postmodernism.