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
The Dardenne brothers creates an ensemble with the protagonist and an object locked together: the boots in 〈Rosetta〉, the belt and the measuring tape in 〈The Son〉, the pram in 〈The Child〉. They thus reinforce the sense of cinema by highlighting meaning of object. The things could be the objects or the space : the boots, the belt, the pram, the crumpled corners of the city, the river bank or the left-over strips of forest neighbouring the motorway. They are complementary relation to and affected. This relation makes ontological meaning of characters’ weight of a quaint life.
These left-over spaces function in relation to the gestures and the objects portrayed in the films, the Dardenne brothers’ cartography coming into existence once these protagonists are anchored, or embedded in a specific environment. This is an environment which they define and which in turn defines them. The left-over spaces in Dardenne films can only be understood in this dual productive relationship.
The intensity of the Dardennes’ cinema space is extended by the gestures, and objects which are extended by silence. Through this, the audience Changes actively. The audience can think about what lies behind walls, look over shoulders and imagine the outside of the frame that can perhaps explain the complex facial features of all the characters. Thus, the Dardenne brothers open up the space of resistance and protest.
These left-over spaces function in relation to the gestures and the objects portrayed in the films, the Dardenne brothers’ cartography coming into existence once these protagonists are anchored, or embedded in a specific environment. This is an environment which they define and which in turn defines them. The left-over spaces in Dardenne films can only be understood in this dual productive relationship.
The intensity of the Dardennes’ cinema space is extended by the gestures, and objects which are extended by silence. Through this, the audience Changes actively. The audience can think about what lies behind walls, look over shoulders and imagine the outside of the frame that can perhaps explain the complex facial features of all the characters. Thus, the Dardenne brothers open up the space of resistance and protest.
목차
Ⅰ. 들어가는 말
Ⅱ. 사물, 몸짓, 공간의 관계
Ⅲ. 사물, 몸짓, 공간의 확장
Ⅳ. 나오는 말
참고문헌
Abstract
참고문헌 (6)
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UCI(KEPA) : I410-ECN-0101-2016-688-001753107