대화로서의 영화인문학 - 홍상수의 <지금은맞고그때는틀리다>를 중심으로 - (Cinematic Humanities as a Dialogue - Focusing on Right Now, Wrong Then(<지금은맞고그때는틀리다>) -)

서지정보

· 발행기관 : 한국어문학회
· 수록지 정보 : 어문학 / 131호 / 297 ~ 320페이지
· 저자명 : 한귀은

초록

Cinematic Humanities as a Dialogue -Focusing on Right Now, Wrong Then(<지금은맞고그때는틀리다>)-

The film makes us reflect our life and relationship. The movies created by Hong Sang-Su(홍상수) causes the questions and inner conversations about everyday life. In particular, Right Now, Wrong Then(<지금은맞고그때는틀리다>) presents a series of humanistic questions more actively than in previous films. After watching this movie, the audience would ask questions about the ethics, friendship, snobbism, and recognition struggle. These are important humanistic theses in our age.
There are cinematic elements that catalyze these theses. The first is the structure of the repetition and difference. Several events and camera-working are repeated in the his film. But the repetition is repeated with a difference. So is Right Now, Wrong Then.
This film consists of part 1 and part 2. Part 1 is Right Then, Wrong Now(‘그때는맞고지금은틀리다’), and part 2 is Right Now, Wrong Then(‘지금은맞고그때는틀리다’). Because of repetition and difference of this film, we think deeply about the reasons.
Self-reflexivity is also the factor to trigger the thoughts of audience. Hong Sang-Soo is a Auteurism director, so he has unique styles in films. He mainly uses long take, zoom in, and zoom out, not dividing the cuts. He scarcely ever shoot close-up, point of view shot. He observes and discovers the events and characters. That is the realism of Hong Sang Soo. Through this way of shooting and editing, we could have the time to reflect our lives without romanticizing while watching his movie.

영어초록

Cinematic Humanities as a Dialogue -Focusing on Right Now, Wrong Then(<지금은맞고그때는틀리다>)-

The film makes us reflect our life and relationship. The movies created by Hong Sang-Su(홍상수) causes the questions and inner conversations about everyday life. In particular, Right Now, Wrong Then(<지금은맞고그때는틀리다>) presents a series of humanistic questions more actively than in previous films. After watching this movie, the audience would ask questions about the ethics, friendship, snobbism, and recognition struggle. These are important humanistic theses in our age.
There are cinematic elements that catalyze these theses. The first is the structure of the repetition and difference. Several events and camera-working are repeated in the his film. But the repetition is repeated with a difference. So is Right Now, Wrong Then.
This film consists of part 1 and part 2. Part 1 is Right Then, Wrong Now(‘그때는맞고지금은틀리다’), and part 2 is Right Now, Wrong Then(‘지금은맞고그때는틀리다’). Because of repetition and difference of this film, we think deeply about the reasons.
Self-reflexivity is also the factor to trigger the thoughts of audience. Hong Sang-Soo is a Auteurism director, so he has unique styles in films. He mainly uses long take, zoom in, and zoom out, not dividing the cuts. He scarcely ever shoot close-up, point of view shot. He observes and discovers the events and characters. That is the realism of Hong Sang Soo. Through this way of shooting and editing, we could have the time to reflect our lives without romanticizing while watching his movie.

참고자료

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