상호텍스트적 영화와 패러디 영화

Abstract

The term “intertextuality” has been borrowed and transformed many times since it was coined by poststructuralist Julia Kristeva, Claude Lévi-Strauss, Philippe Sollers, Michel Foucault in 1960's. Intertextuality become the shaping of texts' meanings by other texts. It can refer to an author’s borrowing and transformation of a prior text or to a reader’s referencing of one text in reading another. Some postmodern theorists like Gérard Genette and Jacques Derrida talk about the relationship between "intertextuality" and "hypertextuality" (Palimpsestes); intertextuality makes each text a "mosaic of quotations" and part of a larger mosaic of texts. In the movies, intertextuality is often used to provide depth to the fictional reality portrayed in the medium, such as characters in one film mentioning characters from another. Some critics have complained that the ubiquity of the term "intertextuality" in postmodern criticism has crowded out related terms and important nuances. Linda Hutcheon argues that excessive interest in intertextuality obscures the role of the author, because intertextuality can be found "in the eye of the beholder" and does not necessarily entail a communicator's intentions. By contrast, parody, Hutcheon's preferred term, always features an author who actively encodes a text as an imitation with critical difference. Linda Hutcheon describes parody as something more complex than an imitation of another piece of art (or art form) for the sake of ridicule or amusement. Instead, Hutcheon views parody as a kind of copy that rewrites the original in a manner that is not necessarily mocking. "Parody is, in another formulation, repetition with critical distance, which marks difference rather than similarity." Notable examples of intertextuality and parody include movie series like Back to the Future, Indiana Jones, and Kill Bill which are very heavily dependent upon intertextual references as a source of humor. Some french movies like Tirez sur le pianiste, A bout de souffle, Zazie dans le métro also uses a lot of intertextual homages to create humour. Intertextuality should be seen as more than sly references and in-jokes, however. As in many cases of intertextuality, the casual reader does not need to get any of these references to enjoy the work but it may add to appreciation.