서사의 자기반영, 혹은 화자/초점화의 유희를 통한 서사구축의 한 사례

• 영문명: Study on the Narrative Structure for 'Romance Jo' ; building narrative through Self-reflective narrative, or amusement of the ‘narrator / focalization’
• 발행기관: 한국영화학회
• 저자명: 서정남
• 간행물 정보: 『영화연구』제56호, 205~245쪽, 전체 41쪽
• 주제분류: 예술체육 > 예술일반
• 파일형태: PDF
• 발행일자: 2013.06.30

영문 초록

This study aims to investigate for film that is a very special narrative text, in which there is the creation and delivery of narrative information, and the acceptance of the spectator mechanism for the acquisition of knowledge about the contents of the story. In order to enable this goal possible, the first author is representing various point of views related to the narrator of the narrative texts and the point of views/focalization which have been discussed by the number of the narrative researchers so far. In particular, the first author also deals with the researchers from Gerard Genette who is regarded the best theorist in this field, Mieke Bal, Edward Branigan, Celestino Deleyto, to François Jost. As every single researcher claims differently, a intense debate occurs occasionally. Those most important and fundamental reasons stem from the multiplicity and complexity which are characteristics of media, visual image and sound(dialogue/poly, sound effect/music)). Based on these studies as methodologies, the first author examines the movie in detail. Out of all the things, the first author closely looks into the matter that this movie has a meta-narrative characteristics related to narrative about narratives and self-reflective narrative. Characters in the outer story become to make a relationship between the narrator and narratee of the follow-up story through natural dialogues. One character of the outer story is called to be a protagonist or recalled by the other characters. One character appears as an actant or focalisateur of an incident in one episode, or as a speaker who is talking about the incident in another episode. In this way, the narrative of this text layers(levels) has mutiple structure from the first narrative to the fifth. Episodes which make up every single text layers adopt a form of concentric circle(narration concentrique), crossing each other. Without ceasing here, it makes those ripples exchanged so that the audience fall into the abyss maze. This is called Mise-en-abyme and is strangely variated. The core that makes this movie extraordinary is in manipulating the mechanism of narrator, amusement of point of view/ focalization, and creation and delivery of narrative information/ knowledge, and also in awakening that these facts are upside down and obviously shown. It is through the way in which dramatic confrontation and tension is tighten or unwound through exchanging the roles of the characters, or information is provided or blocked. Those figures not only perform as the key which reproduces an incident and manipulates the time of its acceptance, but also control the knowledge of audience

목차

1. 들어가는 말

2. 이론적 배경－이야기의 화자와 서술의 시점/초점화 관련 연구의 현황

3. 영화 <로맨스 조>의 시퀀스 분절과 초점화 양상

4. 분석 결과의 종합 : 영화 <로맨스 조>의 서사구조 도표

5. 나오는 말

키워드

Narrator Point of view Focalisation Narrative Structure Information and Knowledge ‘Romance Jo’