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소비에트 애니메이션의 ‘러시아적 캐릭터’ 모색과 구현 - 레오니트 시바르츠만의 캐릭터를 중심으로 -
이은경 ( Eunkyung Yi ) 한국외국어대학교(글로벌캠퍼스) 러시아연구소 2020 슬라브연구 Vol.36 No.4
본 논문은 러시아 최고의 애니메이터이자 감독인 레오니트 시바르츠만(Leonid Shvartsman)과 고전 애니메이션을 살펴보았다. 시바르츠만은 소비에트 시기 여러 감독과 작업을 하며 러시아 애니메이션에 크고 분명한 발자취를 남겼다. 러시아 애니메이션은 초기 단계에서 디즈니의 영향을 많이 받았다가, 1960년대 이후에는 소유즈물트필름의 개편과 신세대 감독들의 등장으로 인해 독자적 영역을 구축하였다. 소유즈물트필름이 소비에트의 교육 선전에 도구가 되었다는 비판도 많지만, 사회정화와 교육을 내세운 소비에트의 이념하에 선하고 건강한 캐릭터들이 창조되는 순기능도 있었다. 특히 시바르츠만의 캐릭터는 ‘러시아적인’, ‘러시아문화’의 옷을 입고 있다는 점에서 특징적이다. 디즈니의 영향을 받은 러시아 애니메이션이 디즈니 스타일에 잠식당하지 않고 이것을 극복하자는 모토 아래 만들어진 시바르츠만의 모색은 러시아적 캐릭터의 탄생을 가능하게 하였다. 시바르츠만은 유머야말로 세계를 구할 수 있는 작지만 가장 강력한 힘이라고 주장한다. 유대인적 혈통에서 비롯된 이러한 세계관이 그의 애니메이션에 깊이 녹아있다. 그러므로 시바르츠만이 그려낸 애니메이션은 다양한 민족과 삶이 어우러진 소비에트의 문화적 정체성을 잘 드러내는 것이라 할 수 있다. This article deals with Leonid Shvartsman, the most famous russian animator and producer and his classic animations. Shvartsman worked with many film directors in the soviet period and he left a deep footprint in the history of russian animation. In its early days, russian animation has been influenced a lot by Disney but after 1960s with the reorganization of Soyuzmultfilm and the emergence of a new generation directors it could create and establish its own area. Soyuzmultfilm has attracted a lot of criticism that it became a tool for the propaganda of Soviet education, but we also have to recognize its positive function of good and healthy characters created by the Soviet ideology which emphasize the importance of social purification and education. The trademark of the characters of Shvartsman is that they are dressed in clothes of ‘Russian’, ‘Russian culture’. In this point of view we can say that the efforts of Shvartsman, who tried to protect russian animation from the influence of Disney with the slogan: “not to be encroached, but to overcome the Disney style” made it possible the birth of russian characters. Shvartsman points out that humor is the smallest but the greatest power that can save the world. We can see that this view of the world derived from the Jewish lineage is deeply melted in his animation. Therefore, it can be said that the animation created by Shibarzman reveals well the cultural identity of the Soviets in which various ethnic groups and their lives are mixed with harmony.
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이희원 한국러시아문학회 2021 러시아어문학 연구논집 Vol.72 No.-
Russian animations are now remarkably breaking away from their previous tendency to borrow stories and characters from foreign fairy tales and myths and instead have begun to imprint national narratives not only on children but also on adults by placing stories and characters inherited through national and cultural memories at the center of the subject. Among them, paying special attention to East Slavic mythologies and folktales is the most prominent trend in the Russian animation industry at present. While the history of Russian animation began with scientific exploration and artistic experimentation, the industrial development of Russian-Soviet animation certainly began with ‘Soyuzmultfilm’ as a response to the need for establishing an infrastructure for ‘Soviet animation’ against Walt Disney animation. Amid concerns and self-analysis of the reality of Soviet animation, which had lost its unique colors and traditions and had fallen into being Disney imitations, Soyuzmultfilm gradually recreated characters and spirits from Eastern Slavic myths and folktales as the unique contents of Russian animation. In particular, ‘Melnitsa’, an animation studio that was established in the mid-1990s, is a leading company in the Russian animation industry. Distinguished by its exploration of East Slavic mythology and folktales, ‘Melnitsa’ Studio is creating a revival of Russian animation that does not lag behind the box office of Disney and other foreign animations. Including the ‘Three Bogatyrs’ series, Melnitsa Studio’s animations, which set East Slavic mythology and folktales as for their own contents, were paradigm-shifting works that made ‘Russian’ animation globally successful. The ‘Three Bogatyrs’ series, which began in 2004 and currently has produced up to 10 films, has led the trend of returning to Russian heroes and East Slavic myths throughout the Russian animation industry. Conveying old stories about the heroes of East Slavic mythology and folktales in a new way, the ‘Three Bogatyrs’ series is characterized by way of de-heroization, reflecting the change in the public’s emotions and needs. The fact that this de-heroization strategy was very accurate was proved by the unprecedented success and popularity among the wide range of audiences in ages and generations.
KCI
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