007시리즈에 나타난 포스트 모던 시대의 '인종주의'와 중국에 대한 경계 : 007어너더데이(Die another day)를 중심으로

박철웅 한국영화교육학회 2003 영화교육연구 Vol.5 No.-

The worst problem through 007 movies is racism which they have. They are also strong macho-dramas. Color people and female have been shown just as background or as undervalued figures in the movies. However, The roles of them start to be strengthen and broaden in new 007 movies. They begin to appear as independet partner with James Bond. But, this doesn' t mean that a distorted view of race and female in the movies has been given up any more. The current change is the part of multi-culture strategy which is based on white supremacy for global market. It is 'New Racism' which new completed 007 movie represents in Postmodern period. '007 movie' likes to treat hot issues which is connected with international conflicts because it is a spy movie. Currently, China is rising up as the most powerful enemy against western nations through 007 movies. They feel to be threatened about China more than &-Soviet Union in Cold- War period, because China is the cross which ideology and racism meet in the 007 movies.

A Study on Heroes in Hollywood Movies

Park Chur-Woong The Korea Contents Association 2005 International Journal of Contents Vol.1 No.2

One of the most important characteristics in Hollywood movies is that Hollywood movies have created heroes. But, the meaning of heroes in Hollywood movies is different from proto- typical heroes. America has such a short history, so it doesn't have the mythology. It is also consist of multi-race, culture. Thus, America people, especially governor need something that tie up governed people spiritually. Hollywood film industry has responded about this expectation since 1920's. Hollywood film producers have created mythology and hero like the western genre and Rambo. Now days, America, as only super power, wants to spread it's mythology and heroes over the world. That is cultural Imperialism.

A Study on Heroes in Hollywood Movies

Chur-Woong Park 한국콘텐츠학회 2005 International Journal of Contents Vol.1 No.2

카를로스 레이가다스 <침묵의 빛>의 형식 스타일과 세계관 분석 -칼 테오도르 드레이어의 <오뎃트>와 비교분석을 중심으로-

박철웅 ( Chur Woong Park ) 한양대학교 현대영화연구소 2013 현대영화연구 Vol.9 No.2

Carlos Reygadas`s Silent Light exhibits a special relationship with Carl TH. Dreyer`s Ordet, because you can perceive a certain attempt beyond homage in Silent Light. In order to make the special connection with Ordet, Silent Light bares similar situations and main conflicts from Ordet. However, Silent Light gives us an opposite conclusion and shows us a different world view by using a formal system that is quite different from the Ordet`s. Carlos Reygadas`s world view and formal system in his movies are important to study, because he has developed consistently this world-view and formal system through his previous works such as Japon and Battle in Heaven. Miracles may happen in Ordet`s world through faith in God, sacrifice, and forgiveness. However, it does not exist in Silent Light even though people desire, because people nowadays do not believe miracles. Unlike Ordet`s formal system that drives people to focus on its message and story, the formal system in Silent Light isn`t the factor that supports its story but the means of communication as itself. The long-take shots and breaking visual grammar require people to look around the things that they do not pay attention to and face up to the reality. The reason that Carlos Reygadas chooses Carl TH. Dreyer`s Ordet is not to undermine it, but it is to hold Ordet`s classical world view and formal systems. In fact, he has a great regard for the concept of redemption and belief in Ordet and this is the most important reason for his choice. He passes a judgement that Ordet can`t reflect the present time. Thus, he tries to adapt it to the present time`s circumstances by using his own formal systems. Silent Light is the result of his such attempt.

알폰소 쿠아론의 〈위대한 유산〉 분석

박철웅(Park Chur-Woong) 한국만화애니메이션학회 2009 만화애니메이션연구 Vol.- No.16

이 논문에서는 알폰소 쿠아론 감독의 〈위대한 유산〉을 찰스 디킨스의 원작과 데이비드 린 감독의 같은 원작을 영화한 작품과의 비교 속에서 분석하였다. 고전 소설을 영화한 작품을 평가하는데 있어서 고려되어야 할 점은 원작에 대한 충실도 외에 문학과 영화 형식의 차이점, 당대 관객들의 기호, 그리고 감독 자신의 해석이 고려되어야한다. 이러한 판단기준으로 볼 때 데이비드 린은 원작에 충실하면서 미쟝센을 통해서 자신의 해석을 훌륭하게 표현하였고 알폰소 쿠아론은 원작을 할리우드 고전적 문법아래 과감하게 변형한 후 현대적인 영화 형식을 구가함으로써 완성도 있고 대중 친화적인 작품을 만드는데 성공하였다. I analysis Alfonso Cuaron's 〈Great Expectations〉 comparing it with Charles Dickens' the original novel and David Lean's 〈Great Expectations〉. In order to evaluate film which is based on classic novel, formal difference between film and novel, people's preference in those days and director's interpretations should be considered besides how the film follow the original novel faithfully. Regarding to these valuation basis, David Lean's film is true to the original novel and same time successful to add director's interpretation by using Mise en secne in it. Alfonso Cuaron is also succeed in filming well-made, people-like work by modifying the original novel with the convention of melo-drama genre and by using modern film form without breaking Hollywood classic film grammar.

대구지역 영화문화산업의 현황과 발전 방안

박철웅(Park Chur-Woong) 한국영화학회 2003 영화연구 Vol.- No.21

Dae-gu is the one of biggest cities in Korea and the top five city in Korea. However, film industry in Dae-gu is very weak and cultural environment for film is getting worse. There are several fundamental reasons resulting the present situation. First, bureaucracy in Dae-gu city do not exactly know what cultual industry is. Second, Korean Film Commission has not set up a policy encouraging film industry in provinces. Third, it has been thought that Seoul is the center of industries, politic, and culture. Consequently, elite filmmakers automatically want to leave provinces for Seoul. To develop the film industry and film culture in Dae-gu city, cultural environment must be created. But It won' t be easy because to make cultural environment takes a long time compared to other industries. To help this undeveloped condition, Dae-gu city's bureaucracy and city people should work, communicate, develop together. One practical solution is to set up: Cinema-theque which the local people can watch various movies, Media center which local people can be educated in producing works by themselves, and Film commission which can serve for other areas. These can bring a benefit to the industry, and also It can represent Dae-gu' s film industry and film.

누리 빌게 세일란(Nuri Bilge Ceylan)의 최근 작품 분석 : <기후>에서 <윈터 슬립>

박철웅(Park, Chur Woong) 동국대학교 영상미디어센터 2015 씨네포럼 Vol.0 No.21

세일란은 초기 3연작과 <우작>을 거치면서 자전적 스토리를 바탕으로 스타일을 완성한다. 그의 스타일이 완성되기까지는 자신이 제작뿐 아니라 직접 대본을 쓰고 촬영과 편집을 하는 독특한 작업방식이 큰 역할을 한다. 그는 이후 <기후>와 <쓰리 몽키스>를 통해 자전적 스토리를 벗어남과 동시에 형식 스타일에 있어서 최고의 완성도를 보여 준다. <기후>는 거칠고 생생한 다큐멘터리적인 기법과 미니멀한 현대적 영화언어가 함께 어우러진 것이 돋보이며, <쓰리 몽키스>는 현대 터키 사회에서 돈을 매개로 벌어지는 가족의 비극을 리얼하게 그려내고 있다. 이러한 성취는 축적된 연출 역량, 디지털을 이용한 더욱 효과적인 된 작업방식 그리고 대본과 촬영에 있어서의 협업을 통해 가능하게 된 것이다. 그러나 세일란은 여기에 머무르지 않고 <윈스 어폰 어 타임 인 아나톨리아> 와 <윈터 슬립> 을 통해 다시 한 번 큰 변화를 꾀한다. <윈스 어폰 어 타임 인 아나톨리아>는 아나톨리아 지방에서 일어난 살인사건을 소재로 하지만, 정작 작품에서는 살인사건 보다는 해결을 위해 모인 사람들 각자의 사연과 그들 간의 이해관계에 초점을 맞춘다. 형식도 이에 조응하여 자연속의 인간의 왜소함과 등장인물의 감정변화를 표현하기 위해서 전체적으로 롱테이크 미학에 의존한다. 세일란은 <윈터 슬립>에서 마치 위대한 문학작품에서 보여지는 인간의 깊은 내면 묘사와 여운을 만들어 내는데 성공한다. 특히 주인공 아이딘으로 대표되는 지식인의 캐릭터를 성공적으로 형상화하는데 이는 그가 존경하는 체홉과 상통하는 것이다. 이러한 목적을 달성하기 위해서 기전의 그의 작품들을 특징짓던 시각적 스타일을 자제하고 대본을 촬영전에 완성하며 전문 배우의 캐스팅에 공들인다. 세일란의 작업방식은 비용과 시간에 구애받지 않고 원하는 만큼 촬영하고 충분한 시간을 들여 편집하는 점에 있어서 마치 문학작품을 생산하는 방식을 닮아왔다. 이러한 작업방식이 그의 치열한 작가정신과 결부되어 보편적인 상업영화에서는 불가능한 여러 가지 성취를 이루어 내고 있는 것이다. Nuri Bilge Ceylan has developed his own style as he has produced his early serial works and 〈Uzak〉, which are all based on his autobiography. The style has strong relationship with his unique production system which he manages financially, writes, cinematographs and edits by himself. He has achieved a made of highest quality and also, overcome beyond his auto-biography through 〈Climates〉 and 〈Three monkeys〉. 〈Climates〉 are a unique work because it is mixed of a documentary skill and a visual style based on minimalism and 〈Three monkeys〉 describes well the family"s tragedy who live in Turkish society, now. The achievement has been gained by his mature skills, effective production system based on the digital technology and corporation with another professional in writing and cinematography. However, Ceylan wasn"t satisfied with the achievements and he has been trying for the another change. 〈Once upon a time in Anatolia〉 is based on the real murder case which happened in Anatolia, but the film more focuses on the people who came to solve and their relationship than itself. Ceylan has succeed in acquiring brilliant depict of human being"s insight and resonance like a great literature in <Winter Sleep> such as a male leading character Aydin. In order to achieve it, he suppressed his previous styles and instead of it, paid a lot of efforts to complete the scripts before production and cast the professional actors. The production style of Ceylan becomes similar to the way a literature has been produced since he began to use a digital device. Thus, his artisan professionalism and production style have gained the remarkable achievements.

누리 빌게 세일란(Nuri Bilge Ceylan) 작품의 꿈 장면 및 소리와 영상 몽타주 스타일에 관한 연구

박철웅(Park, Chur Woong) 동국대학교 영상미디어센터 2016 씨네포럼 Vol.0 No.23

누리 빌게 세일란은 꿈 장면에 많은 관심을 가져와서 초기에는 잉그마르 베르히만과 안드레이 타르코프스키의 영향을 받은 흔적을 보여준다. 그 후, 작품의 완성도가 절정에 오른 <우작>, <기후>, <쓰리 몽키스>에서는 마치 문학의 마술적 리얼리즘같이 꿈과 현실이 공존하는 환상을 보여주며, 최근작인 <원스 어폰 어 타임 인 아나톨리아>에서는 환상이 내러티브에도 관여할 수 있음을 증명한다. 그의 작품에서 꿈 장면은 내러티브가 발전할수록 분량은 줄어들지만, 모던한 형식으로 발전을 계속한다. 여기서 주목해야 할 것은 터키 현대 사회를 반영하는 리얼리즘를 바탕으로 한 작품들 속에서 형식적 발전을 거듭하고 있는 점이다. 미니멀리즘은 세일란 작품들의 모던한 스타일을 일컫는 핵심적인 표현으로써, 시적인 응축을 통해서 예술적인 영상을 만들어 내는 것을 뜻한다. 그는 초기의 습작기를 거친 후, <우작>이후의 작품들에서 모던한 영상언어를 혁신하면서 세계적인 모더니스트로 떠오른다. 이러한 성취의 비결은 세일란이 소리와 영상의 몽타주 작업을 충분한 시간을 가지고 직접 관여하기 때문이다. <작은 마을>에서 시작된 소리와 영상의 몽타주 실험은 <우작>에서는 시선과 소리의 강조만을 통해서 전체 스토리를 성공적으로 축약 하였고, <쓰리 몽키스>에서 드라마를 만들기 시작한데 이어서, <원스 어폰 어 타임 인 아나톨리아>에서는 드디어 삶과 죽음의 공존이라는 깊이 있는 철학적 주제까지 표현할 수 있게 되었다. 아이러니한 것은 열악한 제작 환경 때문에 사운드와 편집을 비롯한 모든 분야에 통달 할 수밖에 없었던 그의 독특한 제작 시스템이 배경이 되었다는 것이다. In his early career, the dreaming scenes in Nuri Bilge Ceylan"s films represent the influences of great film makers like Ingmar Bergman, Andrei Tarcovsky. And in his middle career, those show us a surprised attempt which is similar to latin America literature"s magic realism. His recent work <Once upon a time in Anatolia> also shows us that the dreaming scenes aren"t only showing themselves but also influence to the narrative in it. As the narrative of his works become stronger as amount of dreaming scenes become fewer. However, the dreaming scenes in his works don"t stop their development. Noticeably, those have been developing in his works based on realism which represents Turkey"s society. Minimalism, which is the key world of Ceylan"s modern styles, means that artistic image are produced by poetic condensation. Ceylan has become a world famous modernist by reforming modern visual language through <Uzack>, <Climates>, <Three monkeys> after his early career. The remarkable achievement is based on his artistic spirit and talent as author. The Sound & Image Montage had started from < A small town>. It abbreviated the whole story of <Uzack> successfully only by a character"s looking and the emphasis of sound, and began to dramatize in <Three monkeys>. And finally could express a delicate theme such as the coexistence of a life and death in <Once upon a time in Anatolia>. Ironically, it comes from the audacious Images & sounds montage works based on his unique production system which he has to control everything from to technical works because of his poor financial situation.

HD 드라마타운 유치에 따른 대전지역 영상산업의 발전 방안

박철웅 ( Chur Woong Park ),이종탁 ( Jong Tak Lee ) 한양대학교 현대영화연구소 2011 현대영화연구 Vol.7 No.1

Daejeon city`s film & video industry faces important opportunity to develop itself because the HD drama town was decided to be hosted in Daejeon city. However, unless the business of HD drama town helps the development of Daejeon city`s film & video industry, it`s success will be limited. Thus, the promotion policy for the regional film & video industry is the most important thing that should be set up for the HD drama town. Above of all, the protective policy for the regional film & video companies should be prepared as same time as making an active incubating system for them. The regional film & video companies should find the parts which they can work for before the real operation of HD drama town and make environment for it. Currently, Daejeon`s production supporting policy for films & dramas generates controversy because of selecting standard. It`s very significant thing to pay attention on because there will be much more cases after building HD drama town. In order to cease controversy about the present production supporting, the regional film & video commission should recover it`s own role and function. The production supporting policy should make standards which induces to make the works of regional culture and identity. At the end of it, the system which arranges regional infrastructures and produce works should be set up. Otherwise, unlike expectation for HD drama town, when it operate, the regional film&video industry will become the structure that makes products just following for orders from outside.

알폰소 쿠아론의 롱테이크 미학

박철웅(Park Chur Woong) 한국영화학회 2010 영화연구 Vol.0 No.45

Alfonso Cuaron started his career in Hollywood film industry, had successful debut with his first film 〈Solo con tu pareja〉(1991)that was based on Hollywood classical form and gained fame with his film 〈Great Expectation〉 that was consist of contemporary film's main characters like rapid speed editing, free range camera movement and simple storyline. Afer then, he begin to form his own style with cinematographer Lvezki on 〈Yi tu mama tabien〉. That is longtake style. The longtake style is the style that early frontier like Orson Wells, Jean Renoir and Misikuzi Kenzi began to direct and arranged aesthetically by Andre Bazin. But, it's use have been reduced and Only certain art or independent film treate with it, nowdays. However, Alponso Cuaron dare to deal with it on his works. He developed his own longtake style based on traditional way. He followed the traditional longtake style in using frame depth and proceed the story by using of the layers of frame depth. In the same time, he created the continuous hand held longtake style which make spectators feel if they were in the frame and which complete editing by itself with ready_made choreography. The longtake style is the spot that Cuaron has met in his way to develop his own style without staying his success in Hollywood. It is different from the other foreign directors who used to be talented, and now just followed the way Hollywood system demand, finally was exhausted.