매카시즘과 미국 텔레비전 저널리즘의 현대 정치 영화: <굿 나잇 앤 굿 럭>
A Modern Political Cinema on McCarthyism and American Television Journalism: Good Night, and Good Luck
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This paper reads George Clooney’s Good Night, and Good Luck(2005) as a modern political cinema on McCarthyism and television journalism. It argues that Clooney’s film, as his homage to Orson Welles’ Citizen Kane(1941), can be regarded as the more appropriate film which supports Deleuze’s discussions on the politics realized in the modern cinema of direct time-images than Citizen Kane. By demonstrating that Clooney’s use of television journalist Edward R. Murrow’s speech as the framework of the film and techniques such as his specialized use of depth of field, reverse shot, and camera-consciousness are effective strategies to handle the problems found in Deleuze’s reading of Citizen Kane, this paper evaluates Good Night, and Good Luck as one of the most successful modern political films. It concludes that the film induces spectators as seers to look for new meanings and lines of flight preserved in the sheets of the past. And it also leads us to create a new paradigm of journalism realized in the third direct time-image which concerns time as series.
Abstract
This paper reads George Clooney’s Good Night, and Good Luck(2005) as a modern political cinema on McCarthyism and television journalism. It argues that Clooney’s film, as his homage to Orson Welles’ Citizen Kane(1941), can be regarded as the more appropriate film which supports Deleuze’s discussions on the politics realized in the modern cinema of direct time-images than Citizen Kane. By demonstrating that Clooney’s use of television journalist Edward R. Murrow’s speech as the framework of the film and techniques such as his specialized use of depth of field, reverse shot, and camera-consciousness are effective strategies to handle the problems found in Deleuze’s reading of Citizen Kane, this paper evaluates Good Night, and Good Luck as one of the most successful modern political films. It concludes that the film induces spectators as seers to look for new meanings and lines of flight preserved in the sheets of the past. And it also leads us to create a new paradigm of journalism realized in the third direct time-image which concerns time as series.
참고문헌 (21)
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