영화공간의 사유 - 일본 전통건축의 잠재적 개방성을 활용한 미조구치 겐지의 영화공간구성

Abstract

This study examines how the latent openness of traditional Japanese architectural space is applied to Kenji Mizoguchi’s cinematic space. The Japanese architectural one has a characteristic which is that the whole and the part of the space are variable. Because of this, the relationship between the inside and the outside and the center and the periphery can be flexible. This study focuses on Mizoguchi’s 1950s films which can be considered as the cinematic maturity of the director. The latent openness as the nature of the Japanese space culture helps the narrative to depict the character’s reality and emotional state. The architectural space in his film is presented by realism film techniques such as long take, long shot and deep focus. This is intended to realistically express the value of life through the hardships and sacrifice of a character. Mizoguchi’s camera movement tends to combine the inside and the outside of the space. In addition, horizontal lines, vertical lines, and surfaces of the architectural space shown by the camera movement consequently create the graphic formality of the frame. Eventually, the latent openness of the architectural space expands the film space, which means that the off-screen becomes dynamic. Mizoguchi’s framing represents an aesthetic thought on how to construct the cinematic space from a consideration of how to utilize the architectural space as the place of film narrative. The world view of the director is expressed by his film technique and style. It includes an auteur’s cogitation about the language of mise-en-scène.