길의 서사, 음영(陰影)의 공간 - 오즈 야스지로의 <부초 이야기>와 <부초>의 관계성

Abstract

As is well known, an issue that is often evoked in the discourse on Yasujiro Ozu is the labeling of his consistent film style as ‘Ozu-like’. In the sense that you can tell whose work it is just by looking at the film, the term ‘Ozu-like’ is undoubtedly a sweet metaphor that implies the artist's individuality and originality. On the other hand, this is also a burdensome statement. However, if there is an uncommon detail in the director's works that reveals the aesthetic uniqueness of individual works even if they are not used frequently or continuously, this is also Ozu-like. Rather than distancing ourselves from the rhetoric of “Ozu-like,” there is a need for work to expand the boundaries of this. The discussion of consistency, in other words, touches on the question of Ozu's repetition. Simple narrative family stories are made audiovisual in a similar way through rigorous filming and editing styles. In another iteration, Ozu has directed several remakes. If Ozu insists on a consistent film style and even repeats the media called a remake, one can ask questions about the relationship between the original and the adaptation. In this question of repetition and variation, this paper examines the cinematic relationship between A Story of Floating Weeds (1934) and Floating Weeds (1959). Accordingly, it discusses the changes in the composition of the cinematic space as a visual text as well as the screenplay as a text between the original film and the adapted film. In the discussion, this paper focuses on the fact that the characters' narratives begin and end on the street. In the works under study, it is confirmed that the characters' stories and emotions are intertwined as plots that form the film narrative as a whole. In addition, in the process of specifically audio-visualizing these narratives, this paper examines the way the director uses shadows in the two films. The shadow is a cinematic language that is not simply reducible to the representation of light and shadow, but builds the emotion of the image and contributes to the formation of the atmosphere of the work. From this, the poetics of Ozu’s cinema comes from reading the invisible beyond what is visible. In addition, this paper examines the film in detail and as a whole, encompassing both the theme and form of the film, distancing itself from the ‘Ozu-like’ things (which may fall into the error of generalization) and creating another layer of authorial discourse (to thicken the layer of authorial discourse). Therefore, this paper examines the relationship between the original and the adaptation from an equal cinematic position rather than a remake or adaptation centered on the adaptation.