탈프레임 화면구성과 귀소와 치유의 로드무비 - 전수일론-

Abstract

Jeon Soo-Il’s filmic world is concentrated on décadrage and variation of road movie. His aesthetical style is an extension of a frame and images of ascending and descending through décadrage. It might be from experience of studying abroad and the influence of French Nouvelle Image. His propensity for road movie is caused by space of Sok-cho, his hometown, and Pusan, his residence. While road movie inclines to movements of spaces and changes of characters, <Time Between Dog And Wolf>, Jeon’s film, focuses on the process to identify a different being who does not belong to anywhere. <Himalaya, Where The Wind Dwells> brings to a conclusion a narrative with self-recovery and rehabilitation in the process to deliver an emigrant worker’s ashes. Jeon’s aesthetic style is décadrage or an extension of a frame. Décadrage in his films coincides with the conception of décadrage, Pascal Bonitzer’s term. Décadrage delays a narration, breaks down audience’s view, and goes amiss of right arrangement of a shot. Jeon’s films emphasis view’s vagueness, and maintains continuity with establishing shots and POV shots. However, Jeon’s texts highlight view’s vagueness with emptiness of point of views. It is a mode of shot composition to be well-balanced to presentation of mysterious reality. Another décadrage is an extension of an off-screen space. Off-screen not only lasts on-screen but also contributes an extension of an invisible world. In Jeon’s films, off-screen presents by sound, and exists an authoritative voice about a subject in on-screen. <In With A Girl Of Black Soil>, the character in on-screen hears the voice in off-screen with notification of coniosis and decision of autism. Jeon’s films reveal a propensity for a road movie genre. Even though his itinerary stems from homing instinct, we identify that there is no root in any place for home. But, in <Himalaya, Where The Wind Dwells>, there are a concrete destination and a duty for travel. Also, this film is different to other Jeon’s films in the itinerary of self-recovery and self-reflection. This film is suited for the formular of road movie. Even if Jeon’s start point is from personal existent situation, his films result to an extension of cinematic language through his generic variation and an extension of a frame.