고전소설 영화화와 다시 쓰기―상호미디어성과 「흥부: 글로 세상을 바꾼 자」를 중심으로―

Abstract

This thesis divided the classic novel into a film based on the narrative homology of the original and the film into three stages: ‘write as is’, ‘rewrite’, and ‘newly write’, and then discuss ‘rewrite’. At this time, as the central methodology of mutual mediaity, Heung-boo: The Revolutionist was the target of analysis. Almost everyone in the filmization of classic novels of the 20th century did not go beyond ‘writing as it is’. This was influenced by Chunhyangjeon (1955) and Seongchunhyang (1961), which were previously established as legend of the filmization of classic novels, but the technological and technical factors that made it difficult to translate classical novels into cinematic media were more essential. However, the level of Korean cinema greatly improved during the millennium transition, and new films appeared one after another in the classic novel filmization. They corresponded to ‘rewrite’ and ‘newly write’, especially the ‘newly write’ type. Among them, Heung-boo is a film in which two types are combined, and it is a complex structure in which the narrative of the author Heungbu writes a new Heungbujeon and the narrative of two brothers formed the central axis. In addition, since we wanted to absorb many successful examples of classic-based films, the complexity was inevitably increased. However, the film successfully presented a complex structure in the first half. The problem was that the more complex narratives could not be converged toward the second half, the more depended on the oral delivery of the message rather than the visual narrative grammar of the film. As a result, the role of the narrator of the video was weakened, and the narrative was filled with leaps and chances, and the beautiful video and the narrative could not match. This was a situation that would not have been reached if the two central narratives suggested at the beginning had been steadily developed in a visual narrative method. Heung-boo was a film that had a great ambition to rewrite classical novel, and although it was insufficient in terms of completeness, its significance could be found in that it presented various possibilities for filmization of classical novels and recalled the problems. The classic novel ‘rewriting’ of a movie like this needs to be tried in more diverse ways in the future, and it would be better if a movie that is close to the character of the classic novel comes out. This is the beginning of a new movie completely different from the past, and classic novels are the mother of modern narratives and will always welcome their adventures.