시작과 끝으로서의 영화적 섬의 풍경 -안토니오니의 <정사> (L`Avventura)와 타르코프스키의 <솔라리스> (Solaris)를 중심으로-
분야
예체능 > 연극영화
저자
이익주 ( Ik Joo Lee )
발행기관
한양대학교 현대영화연구소
간행물정보
현대영화연구 2012년, 제14권 417~445쪽(총29쪽)
파일형식
1j400192.pdf [무료 PDF 뷰어 다운로드]
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    영문초록
    The island is not only the space naturally isolated, which may appear within a metaphorically closing. In the Western history, and from ancient Greek culture, the image of the island has always been at the same time that of the closing and the opening. This dialectic of two opposing images that make the archetypal island an ``abstract space`` whose complexity can not be rendered in a visual image using a simple representation, Thus for modern filmmakers the insular landscape became a privileged space of cinematic experimentation. Michelangelo Antonioni and Andrei Tarkovsky are the most typical film directors of ``the cinema of landscape``. In particular, in their films, L`Avventura (1960) by Antonioni and Solaris (1972) by Tarkovsky, the insular landscape appears just in a few scene (L`Avventura-second sequence, Solaris-last scene), but a potential image of the island always remains in the films. L`Avventura begins with the insular landscape and Solaris ends with that: insular landscape as a beginning and an ending. Using the double image of insular landscape as the closing and the opening, two film directors make the intrinsic landscape of human being of the insular landscape. In this atmosphere of their original insular landscape, they describe the subjectivity of human being, the modern individual`s solitude and the feeling of guilty.
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