구인회와 영화 -박태원과 이상 소설에 나타난 영화적 기법을 중심으로

Abstract

This article reviews the concrete aspect of ‘aesthetic of modernity’ which “Kuin-heu”(九人會) had sought, through their cinematic experiences. “Kuin-heu”(九人會) members, skeptical of the aesthetic potential of ‘social realism’, grafted cinematic techniques, the techniques most acceptable to the ‘ocularcentrism’ of modern society, onto their literary works in their efforts to delineate the modern society more directly and sensually. Kim Yu-Young, the leading figure in proletarian film movement, is most notable in relation to films. The fact that “Kuin-heu”(九人會) accepted him as a member in spite of the difference in ideology and medium proves that this group was fully aware of the importance of film in artistic field and eager to embrace film as a branch of art. This awareness is demonstrated in “Kuin-heu”(九人會) members’ individual works, especially prominently in Park Tae-Won and Lee Sang’s fictions. This article analyzes the film techniques appearing in Park and Lee’s works, using Alan Spiegel’s framework. Spiegel finds four filmic-technical elements in 20th century modern fictions since James Joyce : adventition, anatomization, depthlessness and montage. These concepts are very useful ways to understand techniques of Park’s and Lee’s fictions. A camera eye used in Park’s opens toward the outside and takes the snapshots of the landscape. The writer anatomizes external objects which imply the character’s state of mind, captures the objects’ images on a level equal to that of the characters, and finally combines the images like Pudovkin’s montage style. The camera eye in Lee Sang’s works looks into the inner self and delivers the mentality of that character through close-up shots at external objects. He presents subjective depthlessness by mixing reality with fantasies and combines the images in Eizenshtein’s montage style.