Alfred Hitchcock영화의 형식적 특징과 관객의 심리

김금동 한국영화학회 2002 영화연구 Vol.- No.20

Alfred Hitchcock is the master of suspense and thrill. His films playa large role in history of the movies and practice a big influence on the other film-makers, particularly on the writer-director of Nouvelle Vague. The suspense and thrill of his films are made up rather of the formal film structure as of the film contents, e.g., Claude Chabrol says that Hitchcock is one of the tallest inventors of forms in whole film history and Fran ois Truffaut emphasizes that Hitchcock lets concentrate the attention of the spectator on the film. Nevertheless the discussion with the connection between the formal structure and psychology of the spectator did not take place so far. The aim of this work therefore lies into this; to examine The Birds, in order to find out with which formal structure thrill and suspense are produced and which effect this structure cause in the spectator. Here it concerns tile connection between the formal structure of the film and it' s effect on tile perception of the spectator. In the film analysis stand the following question in the foreground: 1. Why does "The Birds' with the everyday and usual environment of the main character and how the main character is pulled by the everyday life in the world of the suspense and thrill? In which connection are the usual world of the main character and the identification of the spectator with the main character? 2. How does Hitchcock prepare for suspense and thrill gradually to drive the feeling of anxiety of the spectator into the climax? 3. Why does Hitchcock give only the spectator the certain information about the dangerous situation and which effect causes this information in the spectator? 4. How are the film-technical elements(cut, montage, camera movement etc.) put into the formal film structure to attract the attention of the spectator and to arouse sympathy on the destiny of tile main character?

다중 스토리 영화 연구: 모자이크 영화를 중심으로

김금동 문학과영상학회 2008 문학과영상 Vol.9 No.1

According to the digital media scholar Vilèm Flusser, the analogical recognition method which is to recognize the world as continuous and linear is at stake, but the nonlinear code of digitalization gives direct influence on our sentiment or imagination as well as on the method to recognize our world. Film also cannot be an exception from this change, and the number of films with nonlinear narratives that are different from linear narrative of classic Hollywood films is gradually increasing. In particular, mosaic film has formed a new flow since 1990s that is different from classic Hollywood films and developing as a regular film genre. It differs from classic Hollywood films which deliver an individual’s sense of value, world, and desire. Mosaic film is often categorized as a sub-genre of ensemble film. It is similar to “Querschnittfilm,” a 1920s German film genre that dealt with multiple characters’ daily lives with different occupations, social statuses, ages, and sexes in a big city like Berlin. Especially, mosaic film was affected by TV soap opera, sitcom, or drama series that process a series of interweaving stories of diverse characters’ various situations. Robert Altman’s Short Cuts is appraised as a standard mosaic film. As the word “mosaic” represents, mosaic film means a film that forms a whole with different pieces harmonized in a web structure. It has multiple characters and each of them has a different occupation, age, sex, culture, nation, ethnicity, and economic background. Each character processes multiple stories through his or her narrative point. The multiple characters are family, friends, or neighbors in the beginning, or they form or reorganize new relationships in the middle of the film. As a result, the multiple stories that looked independent and personal at the beginning are gradually interwoven and make a web structure. In other words, characters in the mosaic film are part of a whole society in which they are interwoven like a chain. Although the story is processed by each character’s narrative point, mosaic film reveals the look of a city, a country, or a global village that the characters live in as they form webs of relationships rather than a personal life. Therefore, mosaic film has a narrative structure suitable to depict social patterns, tendencies or teleologies, on the one hand, and cultural, ethnical or religious misunderstandings or conflicts in this global world, on the other. According to the digital media scholar Vilèm Flusser, the analogical recognition method which is to recognize the world as continuous and linear is at stake, but the nonlinear code of digitalization gives direct influence on our sentiment or imagination as well as on the method to recognize our world. Film also cannot be an exception from this change, and the number of films with nonlinear narratives that are different from linear narrative of classic Hollywood films is gradually increasing. In particular, mosaic film has formed a new flow since 1990s that is different from classic Hollywood films and developing as a regular film genre. It differs from classic Hollywood films which deliver an individual’s sense of value, world, and desire. Mosaic film is often categorized as a sub-genre of ensemble film. It is similar to “Querschnittfilm,” a 1920s German film genre that dealt with multiple characters’ daily lives with different occupations, social statuses, ages, and sexes in a big city like Berlin. Especially, mosaic film was affected by TV soap opera, sitcom, or drama series that process a series of interweaving stories of diverse characters’ various situations. Robert Altman’s Short Cuts is appraised as a standard mosaic film. As the word “mosaic” represents, mosaic film means a film that forms a whole with different pieces harmonized in a web structure. It has multiple characters and each of them has a different occupation, age, sex, culture, nation, ethnicity, and economic background. Each character processes multiple stories through his or her narrative point. The multiple characters are family, friends, or neighbors in the beginning, or they form or reorganize new relationships in the middle of the film. As a result, the multiple stories that looked independent and personal at the beginning are gradually interwoven and make a web structure. In other words, characters in the mosaic film are part of a whole society in which they are interwoven like a chain. Although the story is processed by each character’s narrative point, mosaic film reveals the look of a city, a country, or a global village that the characters live in as they form webs of relationships rather than a personal life. Therefore, mosaic film has a narrative structure suitable to depict social patterns, tendencies or teleologies, on the one hand, and cultural, ethnical or religious misunderstandings or conflicts in this global world, on the other.

서광제의 <군용열차>에 나타난 서구의 영화미학

김금동 문학과영상학회 2006 문학과영상 Vol.7 No.1

The Influence of Western Cinema on, Military Train Concerning the movie Military Train(1938) of Seo, Gwangjae which was recognized as a Japan-friendly movie, based on the New Objectivity(Neue Sachlichkeit) and Expressionism which are the German aesthetics and Film Noir of America, this paper aims to explore how it transfers the Japan-friendly ideology and how Seo, Gwangjae recognized the relationship between Joseon and Japan. Military Train was very similar to the representative movie of the New Objectivity Berlin, Symphony of the Big City(1927), directed by Walther Ruttmann. Military Train accepted the aesthetics of the New Objectivity like speed and rhythm from the Berlin, Symphony of the Big City such as fast editing, various camera angles and dynamic screen structures and added a modernistic symbol to the train. The train which symbolizes modernism in the movie represents the happiness and guaranteed future for Jeonryong and Sunyee, and it is also the unfortunate reality and future of Youngshim and Weonjin who belonged to the traditional world of Joseon. Based on the expressionism and the early film noir, this movie also described the spy, who tried to blow up the train, and Weonjin, who tried to provide information to the spy, as dark and destructive. Finally, this movie ends when Weonjin commits suicide and leaves a letter hoping that the Japanese will win for the peace of the Eastern countries. Based on the western movie aesthetic during the 1920s~1930s, Military Train presents a war ideology that Japan is making a war for the eternal peace of the East. Seo, Gwangjae recognized the relationship between Japan and Joseon as a modernistic and traditional relationship instead of a political and social relationship as controlling and getting controlled and indicated that we need to give up the traditional Joseon culture and pursue modernism.

동행하는 이미지 -디지털 시네마의 이동성(mobility)에 관한 연구-

김금동,남기웅 한양대학교 현대영화연구소 2019 현대영화연구 Vol.15 No.4

This paper discusses the mobility of digital cinema improved as cinema screening and viewing styles are changed by digital technology. As the whole process of cinema production and screening has been converted to digital, the characteristics of cinema images, which were described mainly on camera lenses and films, need to be newly considered in terms of projection and screen. Therefore, this paper discusses the process of moving to the N-screen era, replacing traditional film screens with small portable displays, and the impact of OTT services and Netflix. Digital technology is encouraging the audience to experience decentralization and privatization in the process of accommodating the cinema as ‘images that accompany human’. And this paper would to clarify that digital cinema establishes its aesthetic characteristics by taking the remediation strategy of hypermediation and non mediation. Digital cinema now accompanies human without being anchored in the physical space of reality. Therefore, in order to understand the aesthetics of digital cinema, we need to consider the existence of the images we are accepting today and the changes that result. 본 논문은 영화 상영과 관람 방식이 디지털 테크놀로지에 의해 변화함에 따라 향상된 디지털 시네마의 이동성(mobility)에 대해 논한다. 영화의 제작 및 상영의 전 과정이 디지털로 전환되면서 카메라 렌즈와 필름을 중심으로 서술되었던 영화 이미지의 특성도 영사와 스크린의 측면에서 새롭게 고찰될 필요가 발생하였다. 따라서 본 논문에서는 영화 스크린이 휴대 가능한 소형 디스플레이로 대체되며 N-스크린 시대로 나아간 과정, 그리고 디스플레이의 다변화로 등장한 OTT 서비스와 넷플릭스의 영향에 대해 논의한다. 이러한 조건은 영화관이라는 중심화된 공간에서 영화를 꺼내어 관객으로 하여금 ‘동행하는 이미지’로서 영화의 수용 과정에서 탈중심화와 사유화를 경험하게끔 유도하고 있다. 그리고 본 논문에서는 이를 통해 관객과 동행하는 이미지로서의 디지털 시네마가 하이퍼매개와 비매개라는 양단의 재매개 전략을 취하면서 새로운 미학적 특성을 확립해나가고 있음을 밝히고자 한다. 디지털 시네마는 이제 현실의 물리적 공간에 정박해있지 않고 관객과 ‘동행하는 이미지’로서 존재한다. 동시대의 사례들을 통해 우리가 수용하고 있는 이미지의 현존과 그로 인한 변화가 무엇인지를 고민해본다는 것은 오늘날 대중적 시각문화로 자리하고 있는 디지털 시네마의 미학을 이해하기 위한 과정으로서 의의가 있을 것이다.

멀티플렉스의 공간적 변화

김금동 한양대학교 현대영화연구소 2018 현대영화연구 Vol.14 No.3

This paper discusses multiplex that promoted the rapid growth of film industry in terms of space. Factors that brought about the dramatic increase in the number of viewers stimulated by multiplex include the operation of ground-breaking programs such as wide options for selecting films and various running time, cutting-edge facilities for movie, and cozy and comfortable watching space. However, additional explanation is needed to identify more reasons of the success of multiplex and rapid shift from movie theaters into multiplex instead of internal multiplex such as comfortable showing system and theater seats. Therefore, this paper explores multiplex space in a broad perspective in association with the change of internal space as well as external space such as urban space and commercial facilities. First, it examines how commercial space in urban space restructured by neo-liberalism constructed lifestyles or consumption styles of viewers. Second, it will see how internal space in multiplex corresponded with new consumption styles and physical sense of viewers and constructed them into individual consumers. Lastly, it observes how these changes affected forms, implications of watching movie, and change of class. 이 글은 영화산업의 급성장을 가능케 한 멀티플렉스를 공간적 측면에서 논의한다. 멀티플렉스가 관객의 급증을 가져올 수 있었던 요인으로 우선 넓은 영화선택의 폭, 다양한 상영시간 등을 포함한 획기적인 프로그램의 운영이나 상영을 위한 최첨단 시설 그리고 안락하고 편안한 관람공간을 꼽을 수 있을 것이다. 그러나 멀티플렉스의 성공 그리고 영화관들의 멀티플렉스에로의 급속한 전환을 오직 편리해진 상영시스템과 안락한 좌석과 같은 멀티플렉스 내부에서만 원인을 찾기에는 다른 설명이 더 필요해 보인다. 따라서 이 글은 멀티플렉스 공간을 그 내부공간은 물론 외부공간인 도시공간 및 상업시설의 변화와 관련지어 보다 거시적인 차원에서 고찰한다. 우선 신자유주의에 의해 재구조화된 상업공간의 영향과 함께 멀티플렉스는 영화관람의 형태와 의미를 어떻게 변화시켰으며, 멀티플렉스의 내부공간은 관객의 새로운 소비스타일과 신체적 감각을 어떻게 반영하며 진화하고 있는지 그리고 공간적 변화를 지속할 수밖에 없는 요인은 무엇인지 고찰한다.

김기영의 <하녀>에 나타난 장르 연구

김금동 문학과영상학회 2006 문학과영상 Vol.7 No.2

일제강점기 친일영화에 나타난 독일 나치 영화의 영향

김금동 문학과영상학회 2007 문학과영상 Vol.8 No.2

The study on Korean film in Japanese occupation period is very important because the film contains the problem of pro-Japanese inclination to be solved, and the Japanese occupation period was just the start of Korean film. Two years ago, some Korean Films from that period were discovered. But they are mostly pro-Japanese films, which delivered messages on pro-Japanese ideology and appeal to young Korean people to fight for Japan's war. Taking this opportunity, the film researchers began to pay attention to the pro-Japanese movies of Japanese occupation period and to study the background of the pro-Japanese movie production, and the film policy and laws of Japanese imperialism. Also, they clarified in detail how Chosunmoviemakers showed their pro-Japanese characteristics through the film medium. Film was introduced to Chosun as one of foreign civilization, but unfortunately, Japan’s colonial rule of Korea had already started by the time. At the end of Japanese imperialism, Japan used to deliver pro-Japanese ideology such as “Naesun Ilche” (Japan and Korea are One Entity) and “Hwang-Kuk-Shin- Min-Hwa” (The Imperial Subjugation of Korean People) in the movie and to use the movie as the method of war propaganda. Also, Japan established Nazi film law and film policy and adopted Nazi’s fascist and militarist movie. Japan executed them in Chosun as well as in Japan. As a result, the pro-Japanese movies produced by Chosun people clearly had a trace of fascist and militarist aesthetics. Therefore, it can be confirmed that Homeless Angel (1941) by Choi In-Gyu showed the characteristics of Nazi youth film. The same director’s 1945 Love and Oath contained the characteristics of pilot fighter movie which is a sub-genre of the war movie, and Volunteer (1941) by Ahn Seok-Young showed the characteristics of Triumph of the Will, a Nazi documentary by Leni Riefenstahl.

알레고리 영화로서의 〈마더〉

김금동(Kim Keum Dong) 한국영화학회 2010 영화연구 Vol.0 No.45

Bong, Joon-ho's 〈Mother〉 seems to deal with insane maternal affection. However, the film contains too many vague and unclear scenes to be considered drawing only a mad mother's love, and as these obscure and uncertain scenes don't belong tightly to narrative of maternal affection, it sometimes seems to be unnecessary and useless. This study examines on what 'layer of meaning' is hidden behind 'layer of surface' of maternal affection in Mother as an allegorical film, relying upon the fact that the obscurity and ambiguity Mother has are in line with the discontinuous and fragmented aspects of allegories in Walter Benjamin's 『The Origin of German Tragic Drama(Ursprung des deutschen Trauerspiels)』. Events surrounding Hyeja and Dojun; Jintae and Ajeong; and the old man in a junkyard, etc. describe tragic contemporary Korean history and citizens as the subjects who have led the contemporary history, Dojun and Jintae signify the South and the North Korean governments, respectively, bom as twins by the tragedy of the national division after Japanese occupation period; Hyeja who is in a mother-son relationship, the citizens who established the South Korean regime; Mina who is a daughter of the Manhattan, the U.S.; Ajeong, many youths who had been sacrificed while shouting for democratization criticizing the violation of human rights; and the old man in the junkyard, the uncomfortable truth of history which we want to throwaway like junks. The film depicts through character of Hyeja our image as the people who have undemocratic and violent propensity and our portrait as the subjects of history who make tragic history repeated by distorting, hiding and forgetting our own images and realities. Moreover, through the relationships among all characters, the film describes the issue of the division after the independence; that of ending pro-Japanese sentiment by South Korea and North Korea; the hostile, symbiotic relationship between South Korea and North Korea; and the relationship between North Korea and the U.S. over the issue of nuclear weapons. Like this, the film hides the layer of meaning of the tragic contemporary Korean history; the repetition of tragic history; and the relationship between them and our portrait as the people who are undemocratic and violent; who distort, hide and forget the truth under the surface layer of maternal affection. The director's view on the tragic and desperate history contained in the layer of meaning of Mother doesn't originate from the sense of despair from the salvation that is no longer realizable but from recognizing the desperate situations from beginning to end from the persistent recognition. Mother, based on the results of such a recognition, thus, suggests an insight through which we can see through all the tragic properties of contemporary Korean history, getting out of a step of simple accumulation of historical facts or of the faithful description of the facts.

일제강점기 한국에서의 초기 독일영화 수용양상 -1910년대를 중심으로

김금동 ( Keum Dong Kim ) 한국독어독문학회 2011 獨逸文學 Vol.117 No.-

In diesem Aufsatz wird die Frage, seit wann, wie und welche deutschen Filme in Korea vorgefuhrt wurden und was der koreanische Zuschauer in den deutschen Filmen gesucht hat, in den Mittelpunkt gestellt. Bei der Suche nach der Antwort ist zu hoffen, durch die filmhistorische Spurensuche der in Korea vorgefuhrten deutschen Filme ein kleines Stuck der koreanischen Filmgeschichte rekonstruieren zu konnen. Dabei darf man nicht aus den Augen verlieren, daß damals Korea von Japan besetzt war und Japan nicht nur den politischen und sozialen, sondern auch denkulturellen Rahmen bestimmte und somit auch der koreanische Filmbereich vollig von Japan abhangig bleiben mußte. Anhand der Filmreklame der Maeil-Tageszeitung wurden die fruhen deutschen Filme schon im Jahr 1912 in Korea gezeigt. Es waren 3-5-minutige, kurze Dokumentarfilme, die die siegreiche Ruckkehr der deutschen Truppen, Großstadte wie Frankfurt oder die deutsche Fuchsjagd darstellten. Die Welt in diesen deutschen Filmen war aber fur die Augen des koreanischen Publikums eine glanzende und modernizierte Wunderwelt, die sie niemals erreichen konnten. Je mehr man durch die Filme von der modernisierten westlichen Welt erfuhr und dadurch das Elend der Wirklichkeit deutlicher erkannte, um so wollte man im Kino weiter und tiefer traumen. Gegen Ende des 1. Weltkriegs wurden von Japan in Korea mehrere deutsche Spielfilme eingefuhrt und gezeigt, die bereits die Erzahlform vollendet und die filmischen Verfahren entwickelt hatten. Falls der koreanische Zuschauer erwartet hat, mit Spannung, Stunts oder opulenten Kulissen uberwaltigt zu werden, haben die deutschen Detektivfilme wie Stuart Webbs von Joe May und Filmserien wie 3-teilige Film <Veritas vincit (Die Wahrheit siegt)> seine Erwartungen erfullt. Obwohl diese Kinofilme alle Stummfilme waren, war es im Kino sehr laut. Es wurde im Kino geschrien, in die Hande geklatscht, gestampft oder gelacht. Der koreanische Zuschauer genoß nicht nur den Film, sondern auch diese lebendige Atmosphare des Kinos zusammen mit anderen. Und in diesem Sinne war das Film anschauen nicht ein individuelles, sondern ein kollektives kulturelles Ereignis. Zu diesem Ereignis paßten die deutschen Detektivfilme und die Filmserien sehr gut. Sie trugen auf gewisse Weise dazu bei, den Film in Korea als alltagliche Kultur zu etablieren. Die Detektivfilme und die Filmserien, die zu den fruhen deutschen Filme gehoren, hatten bereits in Deutschland beim Publikum großen Erfolg gehabt und die deutsche Filmkunst stark beeinflußt. Außerdem standen zu Beginn des Films die Sensation und die Experimentierfreude im Vordergrund. In diesem Sinne kommt den fruhen deutschen Filmen durchaus eine große Bedeutung zu. Aber sie wurden nicht archiviert und die Mehrzahl von ihnen gilt heute als verschollen. Und in der Filmwissenschaft hat diese Fruhphase des Films keine Aufmerksamkeit erregt.

김기덕 감독의 영화 〈파란대문〉에 나타나는 미학적 특징과 관객의 새로운 역할

김금동(Kim Keum Dong) 한국영화학회 2005 영화연구 Vol.0 No.25

The purpose of this study is to analyze the film-structure, new role of the viewer and the aesthetic of Kim Ki-duk's Film 〈The Birdcage Inn〉. His Film has the following structure-characteristic: 1. The film omits to dearly represent the characters' view of the world. 2. The film describes events realistically and objectively without showing the cause and effect of the events. The structure of the film encourages viewers to fully immerse themselves into the character's view of the world and the cause/effect of the events Based on the strucrure, this film illustrates how ordinary people misunderstand basic human desires as being immoral instincts and injure the sociallayer at the bottom emotionally. The film is still able to represent the changes of the character's view of the world that all humans are equal and apart of an equivalent world. The motif of the film is brilliantly emphasized through the use of uncommon and diversified symbols.