문학작품의 영화화 텍스트〈 라쇼몽 >의 수사학적 구조

Abstract

The film-maker communicates with the audience within a limited space and time, as the orator does. It is why a film can be read as a kind of speech, in which a rhetorical analysis is justified. This paper, explicating the rhetorical structure of Kurosawa’s film Rashomon, seeks to show to what extent the rhetorical tools are useful for the analysis of a film. To determine the rhetorical structure of Rashomon as a literary adaptation, first of all, it follows in the film the traces of Akutagawa Ryunosuke’s two stories, “In a Grove” and “Rashomon,” and then examines the meaning of spaces such as the Rashomon Gate, the law court, and the grove. Second, based on the rhetorical theory of speech composition, it analyses the narrative structure of the film. Third, it investigates the argumentative structure and figures in the film. Finally, it answers the question what kind of message the audience can read in this film as deliberative rhetoric, three inverted forensic rhetorics included. In comparing the two original stories with the film, the added or lengthened parts in the film merit our attention. What is remarkable above all in the translation from fiction to film is the strengthened role of the woodcutter’s, whereby it is possible to read what the film orator means tod o. He assumes an epistemologically prominent position in the situation when the boundary between truth and falsity is vague or blurred. Nevertheless, the audience cannot trust him fully because he is presumed to have taken theexpensive dagger inlaid with pearls from the duel and rape scene but says nothing of it. But in the peroratio of film-speech he still has the opportunity to express his ethos and inspire confidence in him.