영화 <셜리의 모든 것>에 나타난 아방가르드 영화의 특성

• 영문명: The Quality of Avant-garde film in
• 발행기관: 한국영상제작기술학회
• 저자명: 장민용
• 간행물 정보: 『영상기술연구』제37호, 325~339쪽, 전체 15쪽
• 주제분류: 예술체육 > 예술일반
• 파일형태: PDF
• 발행일자: 2021.12.31

국문 초록

Gustav Deutsch made a feature film, ‘Shirley-Vision of Reality’(2013) using Edward Hopper ‘s painting. The film is a Avant-garde film which not only broke boundaries among painting, photography, and film, but also reproduced the Hopper’aesthetics of art. ‘Shirley-Vision of Reality’ has a extraordinary filmic form that we could not find conventional narrative films. Time and space in ‘Shirley-Vision of Reality’delays and obstructs the flow of time in it. The absence of characters psychologically motivated and free of the principle of causality in‘Shirley-Vision of Reality’makes the time be able to place the theme of the film. The intensive visual motif in Hopper’s painting and Avant-garde aesthetics have the central mechanism in this film Without causality and action in film, time in film could connect and flow properly. Instead the volume of time in real world may be accumulated. The moments of film that is unstructured and accumulated ignores the everyday life makes the surplus of time. It is not conden sed. but expands in film, so reveals the existential understanding of human being. Even though Shirley ‘s life determined historical and political events such as e Great Depression and Hollywood blacklist, but she templated the single moments of her life. But in the same manner of the people in Hopper’s works, she is not able to deep bonds with other people and place in her circumstances.

목차

Ⅰ. 들어가는 말

Ⅱ. 에드워드 호퍼의 그림과 구스타프 도이치의 <셜리의 모든 것>

Ⅲ. <셜리의 모든 것>의 아방가르드 영화적 성격

Ⅳ. <셜리의 모든 것>의 비장소적 특성

Ⅴ. 나오는 말

참고 문헌

키워드

Hopper Gustav Deutsch Shirley-Vision of Reality Avant-gaded film time non-place