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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.
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This paper studies Harold Pinter’s cinematic techniques in his modifications of the original novel of Robin Maugham for the purpose of cinematic transliterations of the elements such as dominance and subservience in his comedies of menace by analyzing Harold Pinter’s screenplay, The Servant. In the screenplay Pinter especially focuses on the individuals’ struggles, which is the main theme of comedies of menace, to resist invasion and defend the “room” from menacing and unidentifiable visitors. In his early plays, Pinter deals with the question of dominance and subservience as the main theme, and while developing the theme, he emphasizes the symbolic aspects of the key concept, “room”, the conflict between its occupant and invader, and various violent games as strategies to resist the power of menace. Pinter practices cinematic transliteration of these elements in his comedies of menace while writing the screenplay of The Servant. Through this experience with the medium of cinema, Pinter had an opportunity to concretize his political concerns, which had been indirectly and metaphorically expressed in his comedies of menace. This study argues that his writings for cinema should be regarded as very important and crucial to the whole world of Pinter’s writings. It also argues that his interactions between the media of theatre and cinema have strongly influenced the development of his whole career as a playwright and screenplay writer.
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UCI(KEPA) : I410-ECN-0101-2015-800-002896558