미켈란젤로 안토니오니의 〈일식〉과 ‘죽은 시간’의 모험

다국어 초록 (Multilingual Abstract)

By exploiting the possibilities of the temps mort in L'eclisse, Antonioni makes an irreversible abyss inside of the classic cinema and opens a significant way of the modem cinema. In this film, the temps mort relates respectively to new narrative structure, the empty space and finally the poetic moments. At first, the temps mort, that is, all of which prevents the dramatic structure from developing, mitigates significantly the causal chain of the classic cinema. Otherwise, it introduces the deep silences in the advancement of the dialogues. Then, the impressive apparition of the temps mort is always bound up to its fusion of the empty space. The ways of which Antonioni uses the latter in L'eclisse, appear in presenting the figures with the large empty space, or in the systematic use of long shots, or in the construction of the shots which grow more longer than usual shots by hesitating to cut. Finally, the temps mort arrives to create the poetic moments by organizing the simple fragments born in daily lives in the modem city. This is eloquently shown in the last sequence of L'eclisse which consists of the simple landscapes of the empty streets from which the main figures disappear definitely. All of these can be considered by the different development of the temps mort. By fortifying one of the privileged capacities of camera, that is, the description, Antonioni exploits inside of the classic cinema the limits of the temps mort, and prepares its ruin. That is why he who pursues the origin of the modem cinema can't avoid confronting L'eclisse.

목차 (Table of Contents)

• 1. 들어가며
• 2. ‘죽은 시간’과 〈일식〉의 서사구조
• 3. 빈 공간과 ‘죽은 시간’
• 4. ‘죽은 시간’과 시적 순간
• 5. 나가면서: 세상의 모든 표면
• 참고문헌
• Abstract

참고문헌 (Reference)

1 Roland Barthes, "친애하는 안토니오니에게, 이미지와 글쓰기-롤랑 바르트의 이미지론" 세계사 1993

2 Kaplan, Robert D, "지중해 오디세이" 민음사 2007

3 Ferro, Marc, "역사와 영화" 까치 1999

4 Eco, Umberto, "The Open Work, translated by Anna Cancogni" Harvard University Press 1989

5 Bonitzer, Pascal, "Peinture et cinéma: décadrages"

6 Björkman, Stig, "Michelangelo Antonioni, traduit du suédois par Anne-Marie Teinturier"

7 Leprohon, Pierre, "Michelangelo Antonioni" Seghers 1961

8 Antonioni, Michelangelo, "La méthode de Michelangelo Antonioni, (entretien avec Serge Daney, Serge Toubiana)" (342) : 1982

9 Chion, Michel, "La musique au cinéma" Fayard 1995

10 Ropars-Wuilleumier, "L'écran de la mémoire: Essais de lecture cinématographique" Seuil 1970

11 "L'Eclipse: L'Avant-scène Cinéma, n° 419"

12 Deleuze, Gilles, "Cinéma 2: L'image-temps" Minuit 1985

13 Daney,Serge, "Cannes et Billancourt, Libération, 20 mai 1983; repris in Serge Daney, La maison cinéma et le monde: 2. Les Années Libé 1981-1985"

14 Chatman, Seymour, "Antonioni or the Surface of the World" University of California Press 1985

15 Tassone, Aldo, "Antionioni, traduit de l'italien par Caecilia Pieri" Flammarion 2007