<도가니>(황동혁, 2011)와 <부러진 화살>(정지영, 2012) －사회고발 매체로서의 법정영화－ = 'Silenced' (2011) and 'Unbowed' (2012) －Courtroom Drama as Media for Social Criticism－

다국어 초록 (Multilingual Abstract)

<Silenced>(2011) visualized an infringement upon personal rights of hearing-impaired children, and <Unbowed>(2012) showed the anguish of the weak against the gigantic authority of the judicature. This study’s aim is to analyse this two films, which caused the social phenomenon of the self-questioning for the judicial system in korea.
Above all, this two films based on fact created the reality dispute.
However, the film, both as media and as art, should be recognized by the filmological discourse and especially by the genre criticism focused on the courtroom drama. Therefore, this paper attempts to approach this two films from the perspective of genre ‘courtroom drama’ and its film grammar.
According to kuzina’s categorization of courtroom drama, the courtroom (or legal) drama means the dramatic fiction about crime and civil litigation,and includes as subtypes ‘courtroom whodunit’, ‘legal/justice thriller’, ‘lawyer film’, ‘juryroom drama’, ‘courtroom comedy’, ‘court-martial drama’, ‘social issue courtroom drama’ and so on. In addition to this subgerens, there is also hybrid forms.
<Silenced> falls under the subgenres ‘social issue courtroom drama’and ‘legal/justice thriller’, and <Unbowed> is affiliated to the subtypes ‘social issue courtroom drama’ and ‘lawyer film’. In this work, this two films are called as korean hybrid courtroom drama, which cause active communications in our society and independent discussions about the judicial arrangements. In other words, the large courtroom drama audiences form spontaneously a social consensus, and this phenomenon works as a huge observational power toward the society.

참고문헌 (Reference)

1 안진수, "한국 법정 드라마 영화 연구: 법적 형식주의와 대중 정의의 관계를 중심으로" 영상예술학회 (10) : 163-184, 2007

2 유제혁, "한경과 맛있는 만남－영화 부러진 화살의 정지영 감독"

3 정지영, "정지영 감독의 <영화 ‘부러진 화살’에 대한 논란에 부쳐> 전문"

4 임지영, "정지영 감독 “가만있으면 쪽팔린 거다”"

5 고규대, "영화 ‘도가니’ 제작진, “영화 속 인물과 명칭은 모두 가상”"

6 우남희, "안성기, ‘부러진 화살’ 노개런티 참여 … ‘값진 보상받을 수 있을까’"

7 심영의, "사실과 허구의 변증법 -영화 <부러진 화살>을 중심으로-" 한국학연구소 (40) : 119-144, 2012

8 최한준, "법정영화 ？뉘른베르크？를 통해서 바라본 전범문제의 법적 고찰" 한국경영법률학회 17 (17): 439-469, 2007

9 박훈, "박훈 변호사의 세상만사, 블로그"

10 정준영, "대법원, “‘부러진 화살’은 흥행 위한 예술적 허구”"

11 안병택, "극적 내러티브의 시각적 연출 특성 연구 -<도가니>의 구도기법을 중심으로-" 한국콘텐츠학회 12 (12): 68-79, 2012

12 배상준, "갱스터 장르와 폭력 - 쿠엔틴 타란티노의 <저수지의 개들> -" 인문콘텐츠학회 (14) : 93-116, 2009

13 안진용, "‘부러진 화살’과 ‘도가니’, 누가 더 벌었나"

14 유정인, "‘도가니’ 실제 사건 당시 판사 “고소 취하로 집유... 깊은 위로”"

15 Paul Bergman, "Reel Justice: The Courtroom Goes to the Movies" Kansas City 1996

16 Henschke, Frank, "Reclams Sachlexikon des Films" Stuttgart 2002

17 Toeplitz, Jerzy, "Geschichte des Films. Band2 1928-1933" Berlin 1992

18 Kuzina, Matthias, "Der amerikanische Gerichtsfilm. Justiz, Ideologie, Dramatik" Vandenhoeck und Ruprecht 2000

19 Harris, Thomas, "Courtroom’s Finest Hour in American Cinema" Metuchen 1987

20 강병진, "<도가니>, 공지영 작가와의 인터뷰" (821) : 2011