야마나카 사다오(山中貞雄) 시대극 영화의 현실 재현 양식

Abstract

This study considers the cinematic space aesthetics of a film director Sadao Yamanaka (1909~1938), who did not have enough auteur research and a film aesthetic discourse compared to the importance of the 1930s, the first golden age in Japanese film history. He directed a total of 26 films in the six years from his debut in 1932 to his last film in 1937. However, unfortunately, most of the works were lost, and only three exist, including <Tange Sazen: The Million Ryo Pot> (1935), <Kochiyama Soshun> (1936), and <Humanity and Paper Balloons> (1937). Therefore, this study aims to discuss the director's cinematic cogitation and contribute to the expansion of artist's discourse through Yamanaka's three existing works. The study consisted of a meticulous examination of Sadao Yamanaka's narrative style and the composition style of the space in which it was represented. After examining the process of revealing the life and reality of petit bourgeois through the narrative, the points where major events were omitted and leaps were discussed as a narrative feature. The Ellipsis and leap of important events are characterized by the rapid development of the narrative, forming the rhythm of editing and building the emotion of the scene. From this, the director tried to find answers to contemporary reality problems in the past in the process of constructing the narrative. This is not due to the artist's intention to turn away from reality and return to the past, but to portray contemporary problems more freely through the appearance of a period drama. In the process of depicting the relationship between a person and a space, the camera contemplates objects and phenomena, restraining movements at a distance. This is connected with the director’s detailed visual composition of the space of life. This composition includes the use of realistic film techniques such as long shot, long take and deep focus and the use of lighting based on shading. Examining Yamanaka's cinematic space aesthetics eventually involves both a media aesthetic discussion of frame space composition and a work of looking into the artist's thoughts on human life in real space. Realism arising from the director's spatial aesthetics can be discussed as a creative reconstruction of reality, not just a copy of reality, which is Yamanaka's response to what cinema should be and his own cinematic practice.