홍상수 영화의 ‘서술-초점화’ 유형과 그 의미

Abstract

This paper aims to investigate the types of ‘narration-focalization’ in Hong Sang-soo’s films in terms of the concepts of cinematic narratology including “narration”, “focalization”, “ocularization”, “filter” “intradiegetic narrator”, “extradiegetic narrator” and “grand imagier”. The results of the investigation are summarized as the following. First, the paper investigates that Hong Sang-soo’s films consist of four types of ‘narration- focalization’, that is, ‘extradiegetic narrator-zero focalization’ ‘extradiegetic narrator-variable internal focalization’, ‘intradiegetic narrator-fixed internal focalization’, ‘intradiegetic narrator- fixed internal focalization(‘intradiegetic narrator-fixed internal focalization’)’. Second, it investigates that On the Occasion of Remembering The Turning Gate, Woman Is the Future of Man, Woman on the Beach are related with ‘extradiegetic narrator-zero focalization’. Third, it investigates that The Day a Pig Fell into the Well, The Power of Kangwon Province, Virgin stripped bare by her bachelors are related with ‘extradiegetic narrator- variable internal focalization’. Fourth, the paper argues that Night and Day, Like You Know It All, Hahaha, The Day He Arrives are related with ‘intradiegetic narrator- fixed internal focalization’. Fifth, it argues that Tale of Cinema, Okhee’s Film are related with ‘intradiegetic narrator- fixed internal focalization(‘intradiegetic narrator-fixed internal focalization’)’. In conclusion, it is claimed that four types of ‘narration-ocularization’ are very effective in Hong Sang-soo’s films.