교육영화론 연구: 오손 웰즈의 <시민 케인>을 중심으로

Abstract

Educational cinema is defined as ‘a cinema of educational effectuation’ in this article. This definition includes not only ‘a cinema of educational representation’ on the content aspect of it, but also filming techniques as the expression aspect. Composed of the movement-image materials, cinema as a monument that had rapidly grown up based on mass politics and modern technology in the early 20th century and had become the means for entertainment, magic and the war. Cinema, however, had ardently explored ways toward an art before and after World War II, resulting in the film milestone Citizen Kane, written, produced, directed, and acted by a man of genius, Orson Welles, at the age of 25. Called ‘the first great film’, Citizen Kane delves into the many facets of Mr. Kane’s life delivered by five byplayers: Susan, his ex-wife; Thatcher, his guardian; Bernstein, his official; Leland, his close friend; and Raymond, his steward. On the one hand, in the content aspect of the film, ‘Rosebud’ discloses the secret of life that has lost everything by portraying how Mr. Kane had lost what he already possessed. A negative point of view on the content aspect of the film reveals that education is no more than an enlightened realization that happiness in life comes from the ‘slight differences’. On the other hand, the ‘sequence shots’ in several scenes lead us to a fluid or virtual zone beyond the recollection image. The zone lets us know that just as Mr. Kane’s life consists of a constant crisis, so does the chance for instant relief. A positive point of view on the expression aspect reveals that education is the actualization of the virtual capacity that can change life by means of ‘little practices.’ The film Citizen Kane, in which the deterritorializational degree of the expression aspect is higher than that of the content, is a model for educational cinema.