사실주의 영화에서의 클로즈업의 특성 - 영화 <밀양>과 <북촌 방향>을 중심으로

Abstract

A film can be considered as an aggregate of shots which varies the meaning of a film by the ways how they are connected with each other. A shot, of course, includes so many factors. The meanings delivered by shots may varies largely depending on from what objects they hold to what size, angles, movements and layouts in picture are being used. It is the Close-Up that this study aims to look into, a size in picture, one of factors conforming a shot. Close-Ups were examined in their changes and applications along with film history; what characteristics they have and what functions they do in the movies; how they would be used in the Realism Films performing specific roles between shots, through the analysis of two films. Many movie directors are using Close-Ups technique aiming to deliver their ideas and emotions to the audience more effectively. However, an inappropriate use of Close-Ups in a Realism Film could awaken feelings that the director is amplifying audience's emotion for the characters or things excessively intervening in the film,As a result, realistic emotion could be diminished. But this doesn't mean the need of exclusion of Close-Ups from Realism Films. Because the Close-ups could be said the most cinematic picture languages. <Secret Sunshine> by Lee, Chang-Dong and <The day he arrives> by Hong, Sang-Su are the works with Close-Ups techniques in very particular ways. These directors deliver their intentions very effectively through understated Close-Ups without harming realistic emotions. This researcher feels that looking into the characteristics of Close-Ups and how they have been used in the movies are absolutely necessary to make movies exceeding their trends and formats and understand them.