오즈 야스지로 영화의 극적 내러티브 연구- <늦봄晩春>과 <가을햇살秋日和>을 중심으로

Abstract

This study doesn't talk about the subject of the films; nor does it claim that the value of the films is the special way they handle each scene. What this study does is question the images within each scene leading to the next, in an attempt to find the meaning behind them. In particular, I would like to examine the relationship between what is shown and what is not shown. The interaction of visibility and invisibility around imagination. Ozu Yasujiro’s films exclude dramatic developments in favor of events, showings scenes and the kinds of ‘images’ that they create. The invisible aspects make the audience imagine something on their own. This method is not just about not showing events that have already happened, but extends to stories that do not belong to cinematic narratives. It reminds us of the inner events of the characters. These characteristics can also be seen through objects in films such as ‘Noh’ or ‘Umbrella.’ They also appear in the way ceremonies are handled, such as weddings and funerals. For example, Ozu's films do not directly show funerals and weddings but instead reveal the process of characters confronting funerals and weddings in their own ways. A scene of seeing the ceremony through the process is turned into an inner event of the characters. This treatment makes imagination a condition for watching these movies, evoking the audience's sense of the hidden dimensions of film. In addition, the imagination at work in Ozu's films is linked to the problem of sharing memories, which is represented by images of loss.This appeal to the imagination points out a selective difference between the problem of sharing memories and what is remembered. In other words, “Late Spring” confirms the existence of relationships, given that episodes of wanting to share the memory of “mother” often appear. On the other hand, the imagination is also oriented toward the harmony of the relationship, given that “Late Autumn” often shows scenes of wanting to “share memories” recalled from the protagonist’s father.In this process, the loss of characters and events is confirmed through the deliberate recall of absence.. When memory sharing is changed to the level of imagination, it belongs to both the characters and to the audience.