한정된 공간에서 인질을 다룬 영화의 캐릭터 연구 - 〈폰 부스〉와 〈더 테러 라이브〉를 중심으로 -

이정국(Lee Jeong-gook) 한국영상제작기술학회 2021 영상기술연구 Vol.- No.37

This is a thesis that tries to compare Hollywood film 〈Phone booth〉(2002) and Korean film 〈The terror live〉(2013) that succeeded in Korea box-office. and also a parody film that reinterpreted 〈Phone booth〉 successfully. I was going to analyze in the center of Main character and antagonist in their two films. First of all, I explained some basic information about two films: box-office, director’s profile, theme, concept etc. Mainly, I intended to app roach by standpoint of intertextuality. In the main subject, I compared Main characterswith antagonists of two films in detail. By opinions of Robert Mckee and the other screenplay writers, they classifies 6 items for character study: 1) Desire of main character and antagonist, 2) Obstacle and dilemma 3)antagonistic character-antagonist, supporter, obstructor 4) episodes, words, appearance, past of characters 5)motif, irony 6) consistency and change of character In result of comparison, We can know that 〈the terror live〉 succeeded in 4 aspects. First, success of genre as suspense thriller. Second, efficient expansion of parody. Third, excellent acting of hero Ha Jung-woo, Fourth, emotional chemistry for terrorist. Two film exists some gap in the end of the story. 〈Phone booth〉 ends in an allegory, but 〈The terror live〉 is not. The film tells theme by mandatory episode. For all that, 〈The terror live〉 proved that low-budget films in restricted place can succeed in Korea film business.

액션 스릴러 ‘본(Bourne)시리즈’ 연구

이정국(Lee Jeong Gook) 한국영화학회 2010 영화연구 Vol.0 No.45

Through this thesis, I wish to analyze the power and the basic principle of Hollywood Action thriller. First of all, I selected 'Bourne' Series as a prime text for the analysis. It is because I think 'Bourne' Series is one of the best action thriller films in modern times. Untill now, 'Bourne' Series is composed of three films; the first 〈The Bourne Identity〉 was released in 2002 directed by Duck Leman, the second 〈The Bourne Supremercy〉 and the third one 〈The Bourne Ultimatum〉 was directed by Paul Greengrass was released in the year 2004 and 2007. Directing analysis is a detailed study about scripts (adaptation, theme, and plot), cinematography, editing, acting, sound etc. Theme or concept of 'Bourne' Series is pursuit for identity, satire of hypocritical power, obscurity of good and evil. The main genre is Action thriller accompanied by mystery. Another characteristic of that sreies is very rapid editing and parallel montage, and documentary camera style. The most important element of the Series is to direct action and thriller realistically. Directing of fighting scenes and car chase scenes is also very important. especially car chase scenes were directed very well. The act of Matt Damen who starred in Bourne is pretty excellent. All of those element is in harmony. The success of 'Bourne' Series shows us what the Hollywood Action thriller is, how these genres should be directed.

영화에서 아이러니의 종류와 그 활용 실례

이정국(Lee, jeong-gook) 한국영화학회 2003 영화연구 Vol.- No.22

Through this thesis, I hope to mention some branch and exemple of irony in film, The origin of irony originates from 'eironeia' in greek meaning 'dissimulation' (disguise). Substantially irony is applicable not only contents but also form in all movies. Such as visual image, camera movement, acting style etc ... But in this thesis, I planned to explain about contents, especially narrative(scenario). Goal of this writing is to make the good use of irony for all movies we're producing now. By my opinion. irony could be classified into 7 branch. 1. Dramatic irony 2. Plot irony 3. Irony of Character 4. Irony of language 5. Irony of Place 6. Irony of music 7. Irony of tool I think our life and socity is composed of some various irony. So film art does. If ironies uses well in movies, I convince everyone can make a good film he expects.

코엔 형제의 연출 스타일 분석

이정국(Jeong-Gook Lee) 한국콘텐츠학회 2010 한국콘텐츠학회논문지 Vol.10 No.6

이 글을 통해 코엔 형제의 범죄 영화에 속하는 〈블러드 심플〉, 〈바톤 핑크〉, 〈파고〉, 〈그 남자는 거기 없었다〉, 〈노인을 위한 나라는 없다〉를 중심으로 감독의 연출 스타일을 분석하였다. 코엔 형제 영화구성의 특징은 서사적 구성, 내레이션의 활용, 해피엔딩의 거부다. 주제에 있어서는 인간본성을 탐구하고, 탐욕이 가져온 허무와 비극을 주로 다룬다. 극적인 요소로는 오해, 엇갈림, 추격의 모티프를 주로 활용하고 있다. 그의 작품의 캐릭터들은 어긋난 욕망으로 파괴되는 보통사람의 단순함이 대부분이고, 전형적인 캐릭터를 거부한다. 형식을 분석해 보면, 촬영은 스테디 캠을 자주 사용하고, 고정 숏에 광각렌즈를 애용한다. 초기 범죄영화는 표현주의적인 조명을 많이 사용했으나 나중엔 사실적인 자연조명을 주로 썼다. 고전적인 편집, 사운드는 음악보다 음향효과를 주로 사용했고, 실제 현장 사운드, 사실적인 연기와 개성을 중요시 하였다. 분명 그의 영화는 크게 범죄 영화와 코미디로 분류할 수 있지만, 범죄가 우월한 느와르 스타일의 영화야말로 코엔의 독특한 연출 스타일을 느낄 수 있다. Through this thesis, I analyzed Coen brothers's directing style centering around Crime movies: Blood simple, Barton Fink, Fargo, The man who wasn't thers, No country for old man. About directing style of Coen brothers, plot is an epic depiction, habitual use of narration, refusal of happy ending. They concern subject matters about human original nature and tragedy by greed. And as motifs, they often use misunderstanding, crossing over, chase. Also they likes characters of ordinary people who is destroyed by greed. How about their technical style? They usually use steady-cam and wide lens in camera, and in his early crime movies he used expressionistic lights, but after that they usually used realistic natural lights. About sound, they likes more sound effects than music. Also they directed realistic acting and emphasized actor's personality. Coen brothers has been directed many crime movies and comedy films. But their unique directing style was particularly outstanding in the crime movies

단편영화의 미학과 창작 원리

이정국(Lee Jeong Gook) 한국영화학회 2011 영화연구 Vol.0 No.47

This thesis is composed of form, esthetics, and writing principle of short film. In general, the Short film means that the running time is from 10 minutes to 40 minutes. Short film is one of the most important work shop in college film education. So we need various debates about it. Form of short film is classified of three types: classical story, dramatic reversal, to stress image. And the criteria of the esthetics about a short film is also composed of three elements: cinematic perfection, originality, powerful theme. I think, the writing principle of the good short film can be classified of 7 elements: 1) the very simple theme and subject matter and selection of fitting composition. 2) esthetics of simplicity. 3) effective use of irony, motif, reversal. 4) creative view and original expression. 5) narrative powers of persuasion and theme. 6) refined techniques and perfection of acting directing. 7) emotional bond of sympathy. As a results of analysis, A good short film is the works that harmonizes with cinematic perfection and originality, and powerful theme well. Of course, even if one of those three elements outstand, the short one can be a good work.

시나리오에서 메인 캐릭터의 구축 원리

이정국(Lee, Jeong Gook) 한국영화학회 2013 영화연구 Vol.0 No.57

Through this thesis I intended to study about constructing principle of main character in screenplay. As a result, I made clear 11 elements: Desire, Antagonist and Supporter, Obstacle, Past, concrete episode, Irony, Motif, Dialogue and Aphorism, Sense of humor, Habit and outward appearance, variation and consistency. For example, I explained it by 〈Citizen Kane〉(directed by Orson Welles) as main text how them operate practically. Add to that, I cited another classic movies as sample. I don’t think that those elements can be applied to all films absolutely. But when we write script, it can be applied generally. Above all, I think that the most important principle is ‘desire’. What the main character do and how does his target achieve comes from it. In the film not script, main principle for making strong and attractive character can be summarized three elements: scriptwriting, acting, directing. ‘Citizen Kane’ I mentioned as central example was applied perfectly those three elements in the film.

〈케이프 피어〉의 리메이크 영화 비교 연구

이정국(Lee Jeong Gook) 한국영화학회 2008 영화연구 Vol.0 No.35

1. Meaning and type of Remake 'Remake' is a new version of an old film, and to make film again or in a new way. Actually 'remake' in the scripts almost is the same meaning with adaptation. The origina1(work) only is not literature or drama but a film itself. 2. Comparative directing study of J. Lee Thompson and Martin Scorsese I selected Cape Fear as a main text because each two film stand for well-made Hollywood movies and the style of Auteurism director 1) Script- adaptation I think that the most part of film directing is script. To select and adapt a good original work also the very important process in directing. ① Concrete genre- horror thriller ② Main theme- study of human nature ③ Vivid character-Sam, Dani, Rori ④ Reinforcement of episodes ⑤ Addition of motif ⑥ Variation of last scene 2) Aesthetics of film directing ① Cinematography- camera's composition and movement ② Comparative of each two scene ③ Mise-en-scene ④ Editing- psychological description 3) Acting Film directing is composed of harmony of script, acting, directing. All actors of Scorsese's Cape Fear is played excellent acting 3. Epilogue The most recent, 'remake' is a trend. Some people could regard it as negative tredency. but I think those trend would be another alternative because lack new material and idea.

구로사와 아끼라 영화의 마지막 결투 장면 연출 분석

이정국(Lee Jeong Gook) 한국영화학회 2010 영화연구 Vol.0 No.43

This year is the 100th anniversary of Akira Kurosawa's birth. So I wanted to write about his action films that it's called 'Samurai movie', First of all, I hoped to study centering around his last duel scene because it's appear Kurosawa's directing style well. 'Deul' is one of the most used motifs in action and thriller movie. Most of kurosawa films include action and deul in his storytelling. Like as 〈Rashomon〉, 〈Seven Samurai〉,. In this Thesis, I'm going to write centering around last duel scene about 〈Sugata Sanshiro〉, 〈Yojimbo〉, 〈Tsubaki Sanjuro〉. It's the reason why the three films describe the most deul scene of his all films. The use of Mythological plot, Duel between hero and the evil(or bad guy)Sugata Sanshiro, An wandering samurai, Tsubaki Sanjuro is heros, Bad guys is those who they are Higaki, Gunfighter, Muroto. They fight a duel in the last scene after endless strings of troubles Last duel scene of 〈Sugata Sanshiro〉 is composed by 8 shots 4 minutes, in 〈Yojimbo〉 54 shots 9 minutes, in 〈Tsubaki Sanjuro〉 19 shots 4 minutes 33 seconds. Especially, in 〈Tsubaki Sanjuro〉 is very famous the 33 seconds long take shot that keep just before duel. I think that long take is a meaningful pattern of editing. The most important elements of action is editing and camera composition and movement. Kurosawa especially stress on harmonious combination of such elements. Acting and blocking(of actors) also is very important in duel scene directing. Music and sound effects also is an indispensable points directing duel scenes. Cinematic prominence of duel scenes in Kurosawa films totally is thanks to his careful directing style.

영화에서 코미디의 작동 원리 연구

이정국 ( Jeong Gook Lee ) 한국영화교육학회 2011 영화교육연구 Vol.13 No.-

Comedy is the most popular genre since the early film history. Comedy also is the important genre in Korea movie, and was often used in other genre. So through this thesis, I tried to analyze about origin of the word ``comedy``, and what principle the comedy operate. First of all, I tried to arrange terms of slapstick, humor, gag etc. The key point of this thesis is that extract operating principle of the comedy. The major basic text is ``Le rire. Essai sur la signification du comique`` by Henri Bergson. The operating principle of comedy I studied through this thesis classified by 14 elements as follows; attitude of basic human, mechanical action, exaggeration, misunderstanding, imbalance, mistake, inversion, reversal, acting, ignorance, irony etc. Of course, To operate comedy can be added various another categories except to 14 elements mentioned above, for example, there are some ones like acting of player, fitting timing, audience target etc. In conclusion, I mentioned the relativity between tragedy and comedy like Woody Allen and Charlie Chaplin`s films.

영화 연기와 연출을 위한 훈련 프로그램 방법

이정국(Jeong-Gook Lee) 한국콘텐츠학회 2010 한국콘텐츠학회논문지 Vol.10 No.9

본 논문의 목적은 영화연기와 연출을 위한 훈련 프로그램의 필요성과 그 대안적인 방식을 소개하는 것이다. 우리 한국에서 영화나 방송의 최근 연기경향은 생활연기가 주를 이루고 있다. 그러나 연기교육은 여전히 연극 전문가들에 의해 이루어지고 있고, 그로인해 연극 훈련프로그램에 의해 연기를 교육한다. 또한 영화감독들의 연기연출에 대한 교육도 거의 없다. 그래서 영화연기와 연기 연출을 할 수 있는 훈련 프로그램이 필요하다. 이 글은 필자가 실제로 영화연기 훈련 프로그램 개발을 위해 실시한 단편영화 워크숍 〈생활연기의 힘〉과 〈연기연습〉제작과정을 다루고 있다. 이 훈련 프로그램은 이미 스타니슬라브스키가 연극 연습을 위해 활용한 에쮸드를 일부 응용하고, 리 스트라스버그의 액터스 스튜디오에서 체계화된 영화연기 훈련법인 매소드 연기법을 참조하고 있다. 무엇보다도 이 프로그램의 핵심은 기존 연기훈련법에 카메라 활용이 들어간다는 것이고, 배우뿐 아니라 영화 감독과 스탭들이 같이 참여해서 완성한다는 것이다. 이 글에서는 실제로 두 단편 워크숍을 통해 그러한 훈련법의 실험이 객관적인 성과를 이루었음을 입증하고 있다. 본 훈련 프로그램의 교육은 아마추어와 준 프로, 그리고 프로 연기자에 따라 달리 적용해야한다. The purpose of this thesis is to introduce the alternative method of the new training program for film acting and directing. Recently in Korea, acting in movies has become a trend and broadcasting still depicts reality. But men of the theater is usually privileged getting the most acting education offered by the theater training program. They also is hardly teach about acting's directing for film directors. So I thought of establishing a new training program for film acting and acting's directing. I made two short films 〈the power of living acting〉, 〈acting rehearsal〉 that I had practical training program for film acting as practical text. This program applied partially 'Atude' that Stanislavsky devised for theater acting practice, and referred to 'Method Acting System' that Lee Strasberg made for film acting at the Actors Studio. Another main point of this program is camera use. That training program can be attended not only by actors but also by director and film staff. Through this thesis, I wish to prove my new training program for film acting and acting directing. The focus of this training is to target a better execution according to the group you belong to whether amateur group, associate professionals, professional actors.