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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
Many of the characters in 〈Hamlet〉 are in a way spies who watch others and are watched by them. Claudius and Polonius spy on Hamlet in many instances. Hamlet also acts as a spy and makes a plan to have the definite proof of Claudius' murder of his father. This world full of spies naturally reminds us of our own time. People now can hardly avoid closed circuit TV. They have to live with it wherever they go whether it is in the elevator, in the garage, or in their own work places. What's more, they even enjoy spying on others. That's why TV programs with candid camera are so popular.
Taking such a world for granted, it's no wonder the 1990s saw the birth of three 〈Hamlet〉 movies: Franco Zeffirelli's(1990), Kenneth Branagh's (1996), and Michael Almereyda's(1999). It was natural for the filmmakers of our time to have interest in the play's world of spies. The scenes with spies always create much suspense because of the dramatic irony in them. The victim who is being spied doesn't know someone is watching him even though the audience is fully aware of the fact. Each directors of the movies makes his own efforts in order to strengthen the dramatic irony in the spy scenes. The result is a bigger suspense for their audiences.
Take for example Act Ⅲ Scene Ⅰ, where Claudius and Polonius spy on the conversation between Hamlet and Ophelia. Zeffirelli twists the dramatic irony in the scene and creates a different irony which is more suspenseful. Branagh makes use of mirrors in order to intensify the dramatic irony inherent of the scene. Almereyda also takes advantage of the wireless microphone and successfully extracts more drama from the scene. The later the production year of the movie, the stronger the movie's interest in the world of spies in 〈Hamlet〉. This testifies that the three film versions of the play reflected their own time.
Taking such a world for granted, it's no wonder the 1990s saw the birth of three 〈Hamlet〉 movies: Franco Zeffirelli's(1990), Kenneth Branagh's (1996), and Michael Almereyda's(1999). It was natural for the filmmakers of our time to have interest in the play's world of spies. The scenes with spies always create much suspense because of the dramatic irony in them. The victim who is being spied doesn't know someone is watching him even though the audience is fully aware of the fact. Each directors of the movies makes his own efforts in order to strengthen the dramatic irony in the spy scenes. The result is a bigger suspense for their audiences.
Take for example Act Ⅲ Scene Ⅰ, where Claudius and Polonius spy on the conversation between Hamlet and Ophelia. Zeffirelli twists the dramatic irony in the scene and creates a different irony which is more suspenseful. Branagh makes use of mirrors in order to intensify the dramatic irony inherent of the scene. Almereyda also takes advantage of the wireless microphone and successfully extracts more drama from the scene. The later the production year of the movie, the stronger the movie's interest in the world of spies in 〈Hamlet〉. This testifies that the three film versions of the play reflected their own time.
목차
들어가며
원작에 존재하는 감시의 세계
드라마틱 아이러니
현대, 감시에 익숙한 시대
〈햄릿〉영화들에 묘사된 감시의 세계
올리비에와 긴장을 자아내는 연기
제피릴리와 역전된 드라마틱 아이러니
브래너와 감시 거울
알머레이다와 도청장치
나가며
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