누벨바그 시기 고다르의 작품들에 나타난 현대인의 소통과 소외 -A Bout de Souffle(1960-네 멋대로 해라), Vivre Sa Vie(1962-자기만의 인생), Le Mepris(1963-경멸), Pierrot LeFou(1965-미치광이 피에로)를 중심으로- = Godard Projucts in Nouvelle period gave expression Communication and alienation in The present person -A Bout de Souffle(1960), Vivre Sa Vie(1962), Le Mepris(1963), Pierrot Le Fou(1965) mainly on the movies above-

다국어 초록 (Multilingual Abstract)

Monsieur Godard is a reader and a creator in the Nouvelle vague. He made many films that were reflected on the mutual understanding and breaking moderner's relationship such as spiritual or physical prostitution, political ideology.
Between 1960 and 1968, being a representative of the Nouvelle vague period, he dealt with communication and alienation between modern couple relationship in his major works. This study examines his films into details and researches several literatures about A Bout de Souffle (1960), Vivre Sa Vie (1962), Le Mepris(1963) and Pierrot le Fou (1965). These films showed Godard's keen sight about Communication and alienation between contemporary couple relationship
Besides, this paper cover the depth of character, especially an essential element consisting of well-made film. Also, this study researches how the structure and relationship among characters were creatively comprised and vividly inspired by Godard. Finally, this study on Godard' films was expected to suggest various examples for characters in his films.
Nouvelle vague period, Godard replaced communication and alienation with life and death. His consistent interests were connected to the verge of 'Life and Death' and 'Sunrise'. So did Another his efforts to capture both immortality and a flash moment.
In 'A Bout de Souffle', he questioned the issue 'what the modern communication is' by the interview scene with movie director Jean-Pierre Melville who was a cameo in the movie. He answered the question that modern life alienated a man from a woman, saying ambiguously "everything has reasons' However, through these scenes he suggested obviously modern life alienated a man from a woman and he consistently tried to question "the aspect of the communication"

다국어 초록 (Multilingual Abstract)

Monsieur Godard is a reader and a creator in the Nouvelle vague. He made many films that were reflected on the mutual understanding and breaking moderner's relationship such as spiritual or physical prostitution, political ideology.
Between 1960 and 1968, being a representative of the Nouvelle vague period, he dealt with communication and alienation between modern couple relationship in his major works. This study examines his films into details and researches several literatures about A Bout de Souffle (1960), Vivre Sa Vie (1962), Le Mepris(1963) and Pierrot le Fou (1965). These films showed Godard's keen sight about Communication and alienation between contemporary couple relationship
Besides, this paper cover the depth of character, especially an essential element consisting of well-made film. Also, this study researches how the structure and relationship among characters were creatively comprised and vividly inspired by Godard. Finally, this study on Godard' films was expected to suggest various examples for characters in his films.
Nouvelle vague period, Godard replaced communication and alienation with life and death. His consistent interests were connected to the verge of 'Life and Death' and 'Sunrise'. So did Another his efforts to capture both immortality and a flash moment.
In 'A Bout de Souffle', he questioned the issue 'what the modern communication is' by the interview scene with movie director Jean-Pierre Melville who was a cameo in the movie. He answered the question that modern life alienated a man from a woman, saying ambiguously "everything has reasons' However, through these scenes he suggested obviously modern life alienated a man from a woman and he consistently tried to question "the aspect of the communication"

참고문헌 (Reference)

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2 리처드 라우드, "장뤽 고다르" 예니 1991

3 한무, "장 뤽 고다르(Jean Lucc Godart)의 『네 멋대로 해라(A Bout do Souffle)』에 나타난 실존주의적, 서사극적 요소의 유사성과 상이성" 배재대학교 인문과학연구원 22 : 2005

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8 제임스 모나코, "뉴 웨이브 2-트뤼포, 고다르, 샤브롤, 로메르, 리베트" 한나래 1996

9 한상준, "고다르 영화의 브래히트 이론 수용에 관한 연구" 중앙대 1991

10 미셀 마리, "경멸: 비평연구" 동문선 2007

11 로랑 티라르, "거장의 노트를 훔치다-영화감독 21인의 비밀수업" 나비장책 2007

12 박재임, "<비브르 사 비>를 중심으로 본 고다르 영화 미학" 8 : 2005

13 키노 편집부, "2001키노 201 감독 1" 키노넷 2001