존 파울즈 서술 기법의 영화적 변용
Cinematic Application of John Fowles’s Narrative Technique
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John Fowles doubted the traditional view of the novel which conceived it to be a literary genre that could faithfully represent the reality, and raised questions concerning the authority of the novelist who could create the significance through writing. In his The French Lieutenant's Woman, Fowles tried to represent the reality which was newly perceived in this postmodern world through various innovative narrative techniques: he invented an equation of higher degree using “third-person omniscient narrator” and “first-person intrusive author” as its variables and induced a creative participation of the reader by manipulating multiple endings. Harold Pinter's screenplay of The French Lieutenant's Woman adopted “a film-within-the-film” technique: he used the location romance between Anna and Mike as a frame story in which the 19th century love story of Charles and Sarah was made into film. This device turned out to be a brilliant cinematic application of the formal characteristics of the novel and an effective analogy to the self-reflexiveness of the narrative voice and the intricate plays of the multiple endings. In so doing, this method successfully recreated certain traits of the original story, while exposed its incompetence in representing another and produced a little different visual aestheticism.
Abstract
John Fowles doubted the traditional view of the novel which conceived it to be a literary genre that could faithfully represent the reality, and raised questions concerning the authority of the novelist who could create the significance through writing. In his The French Lieutenant's Woman, Fowles tried to represent the reality which was newly perceived in this postmodern world through various innovative narrative techniques: he invented an equation of higher degree using “third-person omniscient narrator” and “first-person intrusive author” as its variables and induced a creative participation of the reader by manipulating multiple endings. Harold Pinter's screenplay of The French Lieutenant's Woman adopted “a film-within-the-film” technique: he used the location romance between Anna and Mike as a frame story in which the 19th century love story of Charles and Sarah was made into film. This device turned out to be a brilliant cinematic application of the formal characteristics of the novel and an effective analogy to the self-reflexiveness of the narrative voice and the intricate plays of the multiple endings. In so doing, this method successfully recreated certain traits of the original story, while exposed its incompetence in representing another and produced a little different visual aestheticism.
참고문헌 (11)
- 리처드슨, 로버트, "영화와 문학" (2000), 동문선
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- Conradi, Peter J, "The French Lieutenant's Woman: novel, screenplay, film", Critical Quarterly, 24(1), pp.41~57 (1982)
- Fowels, John, "The French Lieutenant's Woman" (1969), Signet
- Fowels, John, "The French Lieutenant's Woman: A Screenplay" (1981), Little Brown
- Halpern, Daniel, "A Sort of Exile in Lyme Regis", London Magazine, 10(12), pp.34~46 (1971)
- Holmes, Frederick M, "The Novel, Illusion and Reality: The Paradox of Omniscience in The French Lieutenant's Woman", Journal of Narrative Technique, 11, pp.184~198 (1981)
- Knapp, Shoshana, "The Transformation of a Pinter Screenplay: Freedom and Calculators in The French Lieutenant's Woman", Modern Drama, 28(3), pp.55~70 (1985)
- Rackham, Jeff, "John Fowles: The Existential Labyrinth", Critique: Studies in Modern Fiction, 13(3), pp.89~103 (1972)
- Wolfe,Peter, "John Fowles, Magus and Moralist" (1976), Bucknell UP