영화 <강변호텔> 연구: 홍상수식 ‘시적 영화’의 형식화 = A Study on the Film Hotel by the River: The Formalization of Hong Sang-soo's ‘Cinema of Poetry’

다국어 초록 (Multilingual Abstract)

This study examines the characteristics of the ‘cinema of poetry’ in the film Hotel by the River(2018). The term ‘cinema of poetry’ was proposed by Pier Paolo Pasolini as a revolutionary cinematic form, critiquing the transparent narratives of classical cinema and the role of the ‘invisible camera’. Fundamentally, it refers to a cinema where the director's subjectivity and the character's interiority are expressed through ‘free indirect discourse’ or ‘free indirect subjective’ images. To achieve this, Pasolini suggests the methodological approach of ‘making the camera felt’. Hotel by the River, which depicts the final day of a poet facing death, is not merely a monologic film (in Bakhtin's critical sense); rather, it presents highly distinctive free indirect subjective images through the conscious intervention of a handheld camera that dominates the entire work. Amidst its handheld movements, the camera exists on the surface of the screen with a powerful presence, accompanying the narrative flow. It overlaps with the characters’ perspectives while simultaneously forming inter-subjective and dialogic images through autonomous motion. In doing so, the film generates an ‘image of thought’—moving beyond simple perception-images—which Deleuze famously termed the ‘cogito of art’.