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- 저자 : 윤성은 ( Sung Eun Youn ) (검색결과 9 건)
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윤성은(Youn, Sung Eun) 한국영화학회 2013 영화연구 Vol.0 No.55
The 84th Academy Awards was full of memories and nostalgia of early cinema and classic Hollywood cinema. 〈The Artist〉 which describes a ruined silent movie star reaching the age of talkie won 5 oscars and 〈Hugo〉 which is about a forgotten movie maker, Georges Melies and a boy who wants to know the secret of an automaton that supposedly could write a message from his dead father won 5 oscars as well. Although these films are absolutely well made, if spectators who don’t have any knowledge of cinema history and classic movies watch above two movies, they might not understand the true value of them. Because those movies quote many other classic movies which have been beloved by cinephiles and moviemen through the history of cinema. And another movie in the 84th Academy Awards, 〈Midnight in Paris〉 directed by Woody Allen shows kind of a mosaic of various arts. All of those three movies can be tied up in the viewpoint of intertextuality. Firstly, 〈The Artist〉 is based on the era of silent movie and quotations of 〈Singin’ in the Rain〉(1954) that shows also a movie star of the silent era who is facing a crisis of so called ‘the talkie era’ can be found. And there are similar scenes with 〈Citizen Kane〉(1941) which is one of the most influencial films among movie makers and critics in the world. Secondly, 〈Hugo〉 shows many early films directly and indirectly within the narrative. For example, the railroad station in Paris, the background of 〈Hugo〉 is related with the very first film, 〈Arrival of a train at La Ciotat〉(1895) directed by Lumiere brothers and 〈The General〉(1926) directed by Clyde Bruckman and Buster Keaton. Audience might not realize the interrelationship of those films in the beginning of the movie, because 〈Hugo〉 shows them very metaphorically. However, after 〈Arrival of a train at La Ciotat〉 and 〈General〉 are quoted directly, most of the audience can find their similarity. Thirdly, 〈Midnight in Paris〉 is consisted of many pieces of various arts such as music, paintings, literatures and movies. The main character of this movie is already a famous screen writer but he wants to be a novelist. One midnight, he time traveled to 20’s in Paris by chance and met there famous novelists like Scott Fitzgerald and Ernest Hemingway. And many artists and their works appear directly in the screen. If audience don’t have any knowledge of those artists, they might lose their interests in the movie. In the conclusion, this research shows that it is very important for audience to have pre-knowledge so as to understand 〈The Artist〉, 〈Hugo〉, and 〈Midnight in Paris〉. This flow of movie world might cause minority group which is very intelligent and have high social position. That is a nature of intertextuality and it needs to be developed in an academic way.
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윤성은 ( Sung Eun Youn ) 한양대학교 대학원 논문집(영화학과) 2006 시네마 Vol.2 No.-
Cho Kung Ha is one of the directors who haven`t been focused very much among famous contemporary directors like Shin Sang Ok, You Hyun Mok and Lee Man Hi in the film history of Korea. Although he made 33 movies during 15 years and spectators loved them so much, there is no intensive study about his life and movies yet. It shows us that studies about film history of Korea have been partial for familiar directors who are already well known for us. Cho Kung Ha is usually known for melodrama, but he made many kinds of movies and each of them equally have good qualities. Basically, as a director studied music, Cho Kung Ha made use of it efficiently in his movies, especially his famous melodramas like <The Way of Body> and <The Confession of Body>. He put the music-`Climbing the hill` in <The Confession of Body>, `Meditation de Thais` in <The Way of Body>-into the narrative and at the same time, the music plays important role as back ground music helping spectators feel sorrows within them. And through his political drama like <It is going well> and historical drama like <Temporary Government in Shanghai(and Baekbum Kim Gu)>, he shows how much he was interested in our history and politics. However, there are no strong antagonists or villains and the director doesn`t want to punish or judge someone. Probably it means that Cho Kung Ha had affection for human and he seems to believed that environment and destiny can make human happy or unhappy. This dissertation is only a tiny start to study about Cho Kung Ha and unknown directors in the film history of Korea. Obviously He didn`t make really famous movies to current young people, and also his movies are not perfect enough to be highly evaluated by critics. However, Cho Kung Ha asked to the contemporary spectators about human nature and right values which was exactly needed at that time. And he made various movies by proper styles. Therefore, we should notice even a small chink and continuously develope new area of film history of Korea.
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윤성은 ( Sung Eun Youn ) 한양대학교 현대영화연구소 2008 현대영화연구 Vol.4 No.2
Wim Wenders is one of the most popular directors involved in New German Cinema group. However, there`s no enough discussion about him so far as much as Rainer Werner Fassbinder or Werner Herzog who also followed New German Cinema. It is due to the characters of his films related with text and context. Many films of Wim Wenders tell the same theme repeatedly through over 30 years and the very point is not interesting very much for critics and scholars. This article shows three views to the Wim Wenders. First two views are discussed before many times by other studies, however, there can be diversifies more academic studies from them. And Third view tries to tie up the whole stream of Wenders` films including the first two views in this article. First View shows the argument about interrelation between Wim Wenders and Hollywood. Does he hate the culture of United States or on the contrary, admire the Hollywood movies? Ironically, both of the different opinions are possible at the same time and they are related closely in the case of Wim Wenders. Second View is about the title, "The King of Road Movies" for Wim Wenders. However, although he made several road movies and they are authorized wonderful masterpieces, they cannot represent the tendency of Wim Wenders` every films. Therefore, it should be more careful to regulate his films as one particular genre. The last view to Wim Wenders in this article tries to show the constant theme through his whole films, "understanding" among people. In his films, two people who are different a lot meet by chance together and they come to close and finally share their warm hearts. And there are even families in these relationship. It must be the very power of Wim Wenders to make the most humane films and warmly get near to spectators. The spectators want to see his films by the theme which should be said strongly in human life.
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