<춘향뎐>의 판소리 영상 미학에 대한 뮤지컬 영화적 관점에서의 고찰

Abstract

Im Kwon Taek's masterpiece, Chunhyangdeun tries to bring a Korean traditional sound culture, Pansori to the screen. The reason for attempting aesthetic speculations apropos musical film is based on the film ontology. The pure abstract thought of the film starts generally from the dual aspect of image and sound because the relationship between the two means the most elementary perspective from which movies can be contemplated. Unlike musical theater, musical film is in terms of cinema study significant. Because the blurring of the boundary between the diegesis music and non-diegesis music in the film text is a pure cinematic phenomen. Here is to locate the beginning of cinematic thinking about the ontological relationship between image and sound; unlike images, sound exists in a relational dimension, not in a positive dimension. The ‘open’ relationship between diegesis music and non-diegesis music that typifies the musical film aesthetically, however, also defines Pansori ontologically. In the latter, the ontological boundary between diegesis sound and non-diegesis sound is irrelevant. On the contrary, the heterogeneous amalgam of these two is the aesthetic characteristic of the Pansori itself.