영화 <러브레터>의 음악적 해호

다국어 초록 (Multilingual Abstract)

What is the source of the film music which composers would make? This study begins such as a question about the signs of music and movie. In another word, this study is the interpretation from the visual sign to the musical sign.
In semiotics, the sign is divided into the signifier which communicates meaning and the signified which means meaning itself. The movie and music are also made of these parts. If composers compose new music from the movie, it is the translation from the visual sign to the musical sign with their own feeling.
Movie is the expression of the director's own message through visual sign and BGM is the expression of the music director with visual sign in the movie.
In the part of the signifier, the sign of visual and sound is separated like below.
Movie is the visual art, so they have the concrete shape. On the other hand, music is the hearing art, so it has the abstract shape. But they have something in common that they have a propensity for playing with their time. It can find compatibilities in the signifier between visual and music in their time conception. Visual can get its rhythm by combining shots of the minimum unit and time. It is similar to the rhythm of the music. According to the montage theory of Sergei Eisenstein, the tone and harmonics of montage are related to the harmony and overtone in music. The story line through the whole movie is in line with the melody of music and the similarity in the signifier between visual and music can be developed the typical form of the music.
The movie can be presented as the example of the study on the sign of movie and music. This is separated into two parts as the non-musical sequences and the musical sequences. In the non-musical sequences, it is possible to interpret through the familiarity of the musical sign of the sensible visual sign. Based on this, in the musical sequences, it is studied the adjustment between the visual sign and the musical sign.
In the last part, it compares of the relation between connections of the montages which are working as psychological elements and the meaning from sequences. From this study I proved the systematic connection between musicand visual by more detail and deeper analysis. This is about the importance of BGM on the movie. Additionally, the BGM is not a subordinate relationship, but the intimate relationship in terms of the semiotical familiarity. When the esthetic communication exists between the movie director and the music composer, the combination of the movie and music makes dialectic output.