지원사업
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
This study’s purpose is to examine systematically and analytically on what the core is on the special narrative strategies storyteller called Inarritu put forth based on the movie ＜21 Grams＞. First of all, I segmented the text minutely and tabulated it. For methodology, I used series of narrative theory of Russian formalists which penetrate Gerard Gennete’s narratology, Umberto Eco’s semiology, David Bordwell’s Congnitivism, etc.
Director Inarritu has made three feature narrative films so far. His works have something special in common. It is that he always features three groups of characters, and that a sudden accident draws them into an algorithm of fated relationship. Each of the characters in these three groups represent their place in the society they live in or the local traits. Also, another thing in common is that each of them face suffering caused by accidents, self-examine themselves, and change.
The movie ＜21 Grams＞ is a text that configuration of the story is the most confusingly made in the history of feature narrative film so far. The director has split all dramatic situations in the unit of scene, and organized the text by mixing them as he liked. Because of this, audiences who have no prior information on this movie fall into a labyrinth as soon as the movie starts. The audience has to choose one option. Give up watching, or adopt fabula informations actively which the director casts in small pieces in order to solve the puzzle and escape from the labyrinth.
The director’s syuzhet strategy like this can either be a type of violence towards the naive audience, or a method of drawing ‘ideal spectator’ which he really wants. He may be seen to wield absolute power in the narrative he tells, but ironically, he positions himself as a constructor, not an integrator, and makes the audience who participates pushfully through syuzhet strategy he designed the actual integrator of the text. This study state that this is the point of director Inarritu’s narrative strategy.
Director Inarritu has made three feature narrative films so far. His works have something special in common. It is that he always features three groups of characters, and that a sudden accident draws them into an algorithm of fated relationship. Each of the characters in these three groups represent their place in the society they live in or the local traits. Also, another thing in common is that each of them face suffering caused by accidents, self-examine themselves, and change.
The movie ＜21 Grams＞ is a text that configuration of the story is the most confusingly made in the history of feature narrative film so far. The director has split all dramatic situations in the unit of scene, and organized the text by mixing them as he liked. Because of this, audiences who have no prior information on this movie fall into a labyrinth as soon as the movie starts. The audience has to choose one option. Give up watching, or adopt fabula informations actively which the director casts in small pieces in order to solve the puzzle and escape from the labyrinth.
The director’s syuzhet strategy like this can either be a type of violence towards the naive audience, or a method of drawing ‘ideal spectator’ which he really wants. He may be seen to wield absolute power in the narrative he tells, but ironically, he positions himself as a constructor, not an integrator, and makes the audience who participates pushfully through syuzhet strategy he designed the actual integrator of the text. This study state that this is the point of director Inarritu’s narrative strategy.
목차
1. 서론: 낯설게 하기 서사전략
2. 관객, 혹은 텍스트 완성의 주체에 대한 몇 가지 이론적 고찰
3. 영화〈21그램〉의 씬 분절
4. 〈21그램〉의 내러티브 구조 분석
5. 추론된 파블라와 등장인물들 사이의 관계망
6. 결론
참고문헌
Abstract
참고문헌 (15)
참고문헌 신청
1. [기타자료] - 무비위크 / 2004 / 이냐리투 감독 인터뷰
2. [단행본] - 서정남 / 2004 / 영화서사학 / 생각의 나무
3. [단행본] - Bal, Mieke / 1996 / Focalization, In Narratology / Longman : 115 ~ 128
4. [단행본] - Bordwell, David / 1985 / Narration in the Fiction Film / The University of Wisconsin Press
5. [단행본] - Chatman Seymour / 1991 / Story and Discourse - Narrative Structure in Fiction and Film / Cornell Univ. Press
2. [단행본] - 서정남 / 2004 / 영화서사학 / 생각의 나무
3. [단행본] - Bal, Mieke / 1996 / Focalization, In Narratology / Longman : 115 ~ 128
4. [단행본] - Bordwell, David / 1985 / Narration in the Fiction Film / The University of Wisconsin Press
5. [단행본] - Chatman Seymour / 1991 / Story and Discourse - Narrative Structure in Fiction and Film / Cornell Univ. Press
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UCI(KEPA) : I410-ECN-0101-2013-600-003551158