영미소설의 영화적 수용과 질 들뢰즈의 “시간-이미지”: 오만과 편견, 위대한 개츠비, 남아있는 나날들의영화화를 중심으로

Abstract

This essay attempts to analyze such cases of the screen adaptations of English novels as Pride and Prejudice, The Great Gatsby, and The Remains of the Day in terms of Gilles Delueze's film theory and Georg Lukács's discussion of time in his theory of the novel. Delueze controversially proposes that, by the very break-up of the sensory-motor schema, the constitutive images of the cinema have been changed from the movement-images into the time-images in which time as duration is represented directly in pure optical and sound situations. Lukács also points out that, unlike any other literary genres, such as the drama and the epic, the novel as a form of transcendental homelessness includes real time as duration among one of its constitute principles. Therefore, in order to adapt the narrative of the novel into the cinema, this essay claims, its concept and role of time should be transferred successfully into the screen by means of the cinematography of “the time-images” Whereas the 2013 and 1993 film versions of The Great Gatsby and The Remains of the Day demonstrate certain levels of success in transforming the time of the original novels into their cinematography, the 2005 film adaptation of Pride and Prejudice does not.