<소설가의 영화>에 나타난 영화적 장치의 디제시스화 고찰 = A Study on the Diegetization of Cinematic Dispositive in The Novelist’s Film

다국어 초록 (Multilingual Abstract)

This article examines the diegetisation of cinematic dispositive in Hong Sang-soo’s The Novelist’s Film (2022), with the aim of elucidating the distinctive modes and implications of fictional practice that characterize Hong’s cinematic world. Throughout his career, Hong has persistently interrogated—more insistently than any other figure in Korean film history—the relations between reality and cinema, cinema and fiction, and fiction and life through a meticulous and relentless process of “diegetising” the cinematic dispositive. In The Novelist’s Film, this gesture becomes particularly explicit: by operating the camera himself and orchestrating the visibility of cinematic elements, Hong incorporates into the diegesis what Derrida refers to as parergonal elements—elements situated at the threshold of the work—and renders them fictional. The Novelist’s Film thus presents a unique fictional practice in which the components of filmmaking penetrate the interior of cinematic fiction—its diegesis—both actively and structurally. In doing so, the film not only exposes but also reflects upon the boundaries of cinematic fiction and the possibilities of their expansion.