메뉴 건너뛰기
.. 내서재 .. 알림
소속 기관/학교 인증
인증하면 논문, 학술자료 등을  무료로 열람할 수 있어요.
한국대학교, 누리자동차, 시립도서관 등 나의 기관을 확인해보세요
(국내 대학 90% 이상 구독 중)
로그인 회원가입 고객센터 ENG
주제분류

추천
검색
질문

논문 기본 정보

자료유형
학술저널
저자정보
김희경 (전남대학교)
저널정보
대한일어일문학회 일어일문학 日語日文學 第82輯
발행연도
2019.5
수록면
207 - 223 (17page)

이용수

표지
📌
연구주제
📖
연구배경
🔬
연구방법
🏆
연구결과
AI에게 요청하기
추천
검색
질문

이 논문의 연구 히스토리 (6)

초록· 키워드

오류제보하기
Director Im Kwon-taek and director Mizoguchi Kenji are film directors representing Korea and Japan, respectively. These two men focused on women"s lives as well as feminist film directors. Critics of Korea and Japan point out a lot of similarities between these two directorial works, especially the similarities of female portrayals.
The "Come, Come, Come Upward" by Im Kwon-taek and "The Life Of Oharu" by Mizoguchi Kenji have many similarities. The similarity is that both work on women"s tragic life, and that tragedy is due to the men who intervene in their lives. The second is that the Buddhist atmosphere in the background of the film is dependent on Buddhism to solve the conflict. The third is that the process of the suffering of the main characters of the two films comes from the social structure and the absurd reality, and the fourth is the technique similarity of the film Long Take.
However, this similarity has the same characteristics as the difference and the two sides of the coin. In the case of "Come, Come, Come Upward," she takes a position to confront the situation of a woman who is a female heroine, while the actress O Hoon of "The Life Of Oharu" is depicted as a victim of society. The second Buddhist view of the world is that the former is a massive performance for the salvation of the world beyond itself, while the latter chooses the world of the primitive man to save himself. The third is the reality of the two films. If the former confronts the reality with a macroscopic view and seeks the direction of its dissolution, the latter stare at the contradictions and vagaries and appeal to the audience. As mentioned above, this study presented the concrete basis of the similarities and differences held by the two works, and tried to present the direction of accurate evaluation that guarantees the concrete beyond the emotional dimension.

목차

Abstract
1. 들어가며
2. 문학과 영상, 두 작품의 원작과의 관계
3. 《아제아제 바라아제》와《오하루의 일생》의 접점
4. 《아제아제 바라아제》와《오하루의 일생》의 분기점
4. 나가며
참고문헌
REFERENCES

참고문헌 (13)

참고문헌 신청

함께 읽어보면 좋을 논문

논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!

이 논문의 저자 정보

이 논문과 함께 이용한 논문

최근 본 자료

전체보기

댓글(0)

0

UCI(KEPA) : I410-ECN-0101-2019-830-000664612