판소리 사설에서 영화로의 매체변용 양상 연구 - <춘향뎐>(임권택, 2000)의 ‘방자 - 시퀀스’ 분석 -

Abstract

This study analyzes the detailed process of editorials about pansori being translated into a movie, focusing on ‘Bangja- sequence’ in a movie <ChunHyang>. Cinematizing pansori editorial 『Chunhyangjeon』 is extra work because the movie reconstructs the past event and at the same time, it should not give up communicating with the present. In terms of the reconstruction of the past, <ChunHyang> can be seen as a great success. Rebuilding the past in present perspectives is impossible in the abstractive approach. To do so, it should proceed to comprehend the classical narratives and thoroughly understand modern media as a reinvention of classical narratives. <ChunHyang> discovered contexts of classical narratives which are appropriate for the movie media and applied various film languages that correspond with the contexts. In this aspect of <Chunhyang>, the movie is highly likely to be the model case of the modernization of classics. However, <Chunhyang> had its limits in terms of communication with the present. <ChunHyang> is the outcome of the director Gwontaek Im’s enthusiasm to reproduce the ‘savor of sound’ of pansori and to deliver it to the audience today, even to the audience overseas. It coincides with the just which asserts globalization of most Korean heritage. However, it was director Im’s overenthusiasm. <ChunHyang>, despite its accomplishment, turns traditional art into the subject which needs to be learned and taught. With the interference of function of the textbook and its didactic attitude, audiences today are restricted not to actively enjoy traditional art. The interests observed in the academic field towards the classical narratives are related to the crisis emerged in the field of classic literature. Classical narratives are seen as the subject to learn, not as the art to relish to the audience nowadays. <ChunHyang>, which put textbook duty to itself with the intention of communicating with the audience, became the model of creative reinvention of 『Chunhyangjeon』’s living, breathing cinematic self-consciousness, but also, turned into the subject for learning. Reinvention to overcome the crisis regressed itself to the very cause that called for the predicament.