히스클리프를 위하여?: 안드레아 아놀드 감독의 <폭풍의 언덕>(2011) = For Heathcliff?: Andrea Arnold’s Adaptation Film of Wuthering Heights (2011)

다국어 초록 (Multilingual Abstract)

This essay examines the latest film version of Emily Bronte’s Wuthering Heights, which was directed by Andrea Arnold and released in 2011. The most notable and visible aspect of Arnold’s Wuthering Heights lies in its casting of a black for the Heathcliff role. Heathcliff as a colored person is strongly hinted in Bronte’s novel as he is called a “gypsy” or found in Liverpool, England’s largest slave-trading port at that time. While recent post-colonial criticism on Bronte’s novel focuses on Heathcliff’s racial otherness and the resistant and dangerous energy embodied in this dark figure against the British empire, Arnold’s film seems to be hardly interested in the historically rebellious aspect of Heathcliff’s dark skin. It rather concentrates on the private aspect of his blackness with a focus on how his darkness contributes to the thick and intimate relationship between Cathy and himself.
The most successful features of Arnold’s Wuthering Heights consist in the scenes of wild, animalistic, and raw nature around Wuthering Heights, the relentless omission of emotion-producing score that is replaced by the sound of nature and human silence, or the convincing description of the childhood of Cathy and Heathcliff, particularly how they come to regard each other as his or her double. The latter part of the film where Heathcliff as a rich gentleman and Cathy as a lady of Mrs. Linton appear, however, is insipid and bathetic for several reasons. First, while Heathcliff in Bronte’s novel is notoriously enigmatic, opaque, hence unreadable, Arnold takes his view as the point of view of the film with abortive efforts to force the audience to sympathize with the man who is often described as a ‘gothic villain.’ Secondly, the film Wuthering Heights depicts Cathy just as an object of a gaze of Heathcliff and of the audience, which leads the failure of the audience’s understanding of the heroine and hence of the whole film. Thirdly, Arnold (mis)represents the relationship of Cathy and Heathcliff as the cliche of the heterosexual love when it is not exactly so in Bronte’s novel.

다국어 초록 (Multilingual Abstract)

This essay examines the latest film version of Emily Bronte’s Wuthering Heights, which was directed by Andrea Arnold and released in 2011. The most notable and visible aspect of Arnold’s Wuthering Heights lies in its casting of a black for the Heathcliff role. Heathcliff as a colored person is strongly hinted in Bronte’s novel as he is called a “gypsy” or found in Liverpool, England’s largest slave-trading port at that time. While recent post-colonial criticism on Bronte’s novel focuses on Heathcliff’s racial otherness and the resistant and dangerous energy embodied in this dark figure against the British empire, Arnold’s film seems to be hardly interested in the historically rebellious aspect of Heathcliff’s dark skin. It rather concentrates on the private aspect of his blackness with a focus on how his darkness contributes to the thick and intimate relationship between Cathy and himself.
The most successful features of Arnold’s Wuthering Heights consist in the scenes of wild, animalistic, and raw nature around Wuthering Heights, the relentless omission of emotion-producing score that is replaced by the sound of nature and human silence, or the convincing description of the childhood of Cathy and Heathcliff, particularly how they come to regard each other as his or her double. The latter part of the film where Heathcliff as a rich gentleman and Cathy as a lady of Mrs. Linton appear, however, is insipid and bathetic for several reasons. First, while Heathcliff in Bronte’s novel is notoriously enigmatic, opaque, hence unreadable, Arnold takes his view as the point of view of the film with abortive efforts to force the audience to sympathize with the man who is often described as a ‘gothic villain.’ Secondly, the film Wuthering Heights depicts Cathy just as an object of a gaze of Heathcliff and of the audience, which leads the failure of the audience’s understanding of the heroine and hence of the whole film. Thirdly, Arnold (mis)represents the relationship of Cathy and Heathcliff as the cliche of the heterosexual love when it is not exactly so in Bronte’s novel.

참고문헌 (Reference)

1 William Wyler, "폭풍의 언덕, Laurence Olivier, Merle Oberon"

2 Peter Kosminsky, "폭풍의 언덕, Juliette Binoche, Ralph Fiennes"

3 Andrea Arnold, "폭풍의 언덕, James Howson, Kaya Scodelario, Solomon Glave, Shannon Beer"

4 "폭풍의 언덕"

5 김영미, "캐서린과 히스클리프의 사랑의 불가능성에 대한 연구: 히스클리프의 인종적 타자성을 중심으로" 19세기영어권문학회 15 (15): 7-32, 2011

6 고영란, "워더링 하이츠의 영화화와 멜로드라마" 3 (3): 191-214, 2000

7 브론테, 에밀리, "워더링 하이츠" 서울대학교 출판부 1998

8 레만, 피터, "영화에 대해 생각하기 3판" 명인문화사 2009

9 한창호, "아트톡 폭풍의 언덕"

10 이동진, "시네마톡 폭풍의 언덕"

11 이혜수, "『워더링 하이츠』와 어른이 된다는 것: 상실 혹은/그리고 성장" 19세기영어권문학회 16 (16): 87-113, 2012

12 Meyer, Susan, "Your Father Was Emperor of China, and Your Mother an Indian Queen: Reverse Imperialism in Wuthering Heights, In Imperialism at Home: Race and Victorian Women’s Fiction" Cornell UP 1996

13 Walsh, John, "Wuthering Heights, Andrea, Arnold, 128 mins, 15 The Rum Diary, Bruce Robinson, 120 mins, 15. The Independent. 12 Nov. 2011"

14 Bronte, Emily, "Wuthering Heights" Oxford UP 1998

15 Steve ‘Frosty’ Weintraub, "Writer-Director Andrea Arnold Talks WUTHERING HEIGHTS at Sundance"

16 Brantlinger, Patrick, "Race and the Victorian Novel, In The Cambridge Companion to the Victorian Novel" Cambridge UP 2001

17 Eagleton, Terry, "Heathcliff and the Great Hunger: Studies in Irish Culture" Verso 1994

18 Secher, Benjamin, "Dark dephts of Andrea Arnold's Wuthering Heights" 5 : 2011

19 Brooks, Xan, "Andrea Arnold finds new depths in Wuthering Heights" 6 : 2011