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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2012.9
- 수록면
- 9 - 37 (29page)
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초록· 키워드
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The image of mirror as one of key recurrent components throughout the films made by Andrei Tarkovsky plays an important role in the analysis of the thematic structure of the film director. In general,
First, as traditional function that represents physical reflection and reflecting itself, the image of mirror in Tarkovsky`s film world carries out biliteral duality: looking at something and being reflected. Most of protagonists in the films look at themselves surrounded by the mirror and the world to which they belong is also reflected. Interestingly enough, the mirror changes its figure continuously.
Second, the variation of the mirror hints at the impossibility of communication between the characters throughout the films; one of typical examples is shown in the dialogue between Sasha and his mother in The Steamroller and the Violin(1960) and Ivan and the lieutenant Galichev in Inva’s Childhood(1962).
Third, the mirror image in Tarkovsky`s films serves as an exploration of time refraction of time as well. In other words, it presents an identification of oneself, that is to say a self-identification reflected in someone else. For this right reason, the mirror functions like nostalgia yearning for the lost self which is shred by most of modern people.
Regardless of some distinguishing features that the mirror image has, it owns various layers. Looking at the mirror and ourselves reflected in it, we cannot discern between the reality and the fake because the virtual world, cyborg, reality, the imagined and the invented reality are indiscernible in the mirror. In the same way, in this mirror both realities of ourselves looking at something and being reflected exist. From this limit of the mirror Andrei Tarkovsky could be able to set himself free by emigration.
First, as traditional function that represents physical reflection and reflecting itself, the image of mirror in Tarkovsky`s film world carries out biliteral duality: looking at something and being reflected. Most of protagonists in the films look at themselves surrounded by the mirror and the world to which they belong is also reflected. Interestingly enough, the mirror changes its figure continuously.
Second, the variation of the mirror hints at the impossibility of communication between the characters throughout the films; one of typical examples is shown in the dialogue between Sasha and his mother in The Steamroller and the Violin(1960) and Ivan and the lieutenant Galichev in Inva’s Childhood(1962).
Third, the mirror image in Tarkovsky`s films serves as an exploration of time refraction of time as well. In other words, it presents an identification of oneself, that is to say a self-identification reflected in someone else. For this right reason, the mirror functions like nostalgia yearning for the lost self which is shred by most of modern people.
Regardless of some distinguishing features that the mirror image has, it owns various layers. Looking at the mirror and ourselves reflected in it, we cannot discern between the reality and the fake because the virtual world, cyborg, reality, the imagined and the invented reality are indiscernible in the mirror. In the same way, in this mirror both realities of ourselves looking at something and being reflected exist. From this limit of the mirror Andrei Tarkovsky could be able to set himself free by emigration.
목차
Ⅰ. 서론
Ⅱ. 본론 : 타르코프스키 영화에 나타난 거울 이미지
Ⅲ. 결론
참고문헌
국문요약
Abstract
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