영화 공간의 상징적 표현 연구: 영화 <셰이프 오브 워터>를 중심으로 = A Symbolical Expression Study of the Space in Film: On the Film < The Shape of Water >

다국어 초록 (Multilingual Abstract)

This study applies the semiotics theory of Roland Barthes on the film The Shape of Water to analyze the metaphor of space. Roland Barthes goes beyond Saussure's semiotics theory that signs are made up of signifiers and signifiers, and talks about the secondary semantics of semiotics. Roland Barthes said that the symbols that arise from the primary denotation to create the second connotation through the idea of social/cultural meaning. This paper employs Roland Barthes' second order of signification principle to analyze the space of film in detail with a focus on color and structure. The difference between linguistic semiotics and film semiotics is that while linguistic semiotics use sociocultural context as a signifier in second-order signification, film semiotics use both sociocultural context and storytelling concepts as signifiers. The colors used in the spaces of The Shape of Water are mostly green, red, and yellow. These colors go beyond the primary spatial image and provide additional symbolism through color psychology and other associations in relation to the second-order signifier, the Cold War; each color represents the United States during the Cold War and the discrimination minorities suffered during that time. Additionally, frames and perpendicular structures are used with the second-order signifiers of prison and social hierarchy to represent the authorities that repressed minorities during the Cold War. This paper uses these analyses to emphasize that space within a film can be used not merely as a narrative device, but also as an important directorial method for relaying themes and expressing characters through symbolism; furthermore, it advocates for diversity of expression in the filmic space through these arguments.