<8½>의 내러티브 구조 재해석

• 영문명: Reinterpretation about the Narrative Structure of 8½ by Federico Fellini: Argument with Christian Metz’s interpretation
• 발행기관: 한국영화학회
• 저자명: 노철환
• 간행물 정보: 『영화연구』제59호, 63~96쪽, 전체 34쪽
• 주제분류: 예술체육 > 예술일반
• 파일형태: PDF
• 발행일자: 2014.03.31

영문 초록

It is possible to figure out indirectly how a director has used thecameras through the images shown in a film. This study which is relatedto the camera is begun as a reinterpretation of Lasswell’s CommunicationModel (5W) : Who / Say What / In Which Channel / To Whom / WithWhat Effect. We try to answer this key question : “How does the directorexpresses his intention to the spectators through the camera?”We define the films that have the following characteristics as the filmsur le film, film on film in English: a fiction film, a film directed by the‘auteur’, treatment of the process of the film production, presentation ofthe film dans le film, film in film in English, and the existence ofdirector’s reflexive character. To respond the key question, we analyze 8 ½(1963) by Federico Fellini which is his first film sur le film. 8 ½ has one of the most complex narratives in the film history. Christian Metz named it as a ‘twice double layered film.’ In particular,interpretations on the last sequence of the film which is really verystubborn in its decomposition, are still divided. The most controversialpoint is whether Guido directed the film or pretended to shoot it. Although many scholars have tried to unveil the secrets of this sequence,still there was no clear interpretation in the past 60 years. For exampleMetz said, “8 ½, we do not even see Guido was shooting this film…”However, We don’t agree to his contention. Our hypothesis as follows: “If we found some cameras taking the shotand the shot filmed by them, then we would finally have validatedGuido’s action as the direction of the film.” To prove this hypothesis, weintroduce another notion, film dans le film : a part of film sur le film, itsindependent narrative, the exposure of the scene of production or ofprojection, the existence of filming camera, etc. After all possible checks, we propose a redefinition of the narrativestructure of 8 ½. With this study we want to suggest a new method offilm analysis to approach the director’s intention.

목차

1. 서론

2. <8½>의 내러티브구조

3. 새로운 개념의 도입 : 영화에 대한 영화/영화 속 영화

4. 마지막 시퀀스 분석 : 쇼트 768-773

5. 내러티브 구조의 재구성

6. 결론

키워드

narrative analysis camera director’s intention Film sur le film Film dans le film Christian Metz Last sequence of 8½