영화 속의 회화와 죽음: 알렉산드르 소쿠로프의 <어머니와 아들>을 중심으로

• 영문명: Paintings in Cinema and Death: Aleksandr Sokurov’s
• 발행기관: 충북대학교 러시아 알타이지역 연구소
• 저자명: 이지연(Lee, Ji Yeon)
• 간행물 정보: 『러시아학』러시아학 제13호, 67~90쪽, 전체 24쪽
• 주제분류: 인문학 > 기타인문학
• 파일형태: PDF
• 발행일자: 2016.06.30

영문 초록

This article explores the relations of cinema and paintings, especially concentrating on Russia’s most distinguished living film-maker Aleksandr Sokurov’s masterpiece . In the course of numerous interviews he exalted the bi-dimensionality and the flatness of the cinematic image, connecting it not only to the tradition of European classical paintings, but also the Byzantium religious icon. But if we consider the origin and evolution of cinematography, the flatness of image indicates just a regression of the genre. Then for what purpose did Sokurov adopt the bi-dimensionality of cinematic image? Is there any special esthetic strategy? This article analyzes the functions of pictures inserted into the filmic space, or the cinematic images imitating paintings. In time is suspended by virtue of cinematic images through its constant painterly references, which creates a sense of timelessness and endows the film a special matiere. The article consists of 3 parts: in the first part would be discussed general film theory on the relation of cinema and paintings; the second part is dedicated to the scrupulous analysis of Sokurov’s ; in the third part will be showed the existential meaning of memory inscribed on the pictorial image, which comes closer to the contemplative, absorbing regime of the icon.

목차

Ⅰ. 영화와 회화 예술

Ⅱ. 죽음을 유예하는 회화

Ⅲ. 폐허, 시간의 박물관

키워드

알렉산드르 소쿠로프(A. Sokurov) 영화와 회화 예술(Cinema and Paintings) 러시아영화(Russian Cinema) 반재현(Anti-representation) <어머니와 아들(Mother and Son)> <속삭이는 페이지(Whispering pages)> 이미지의 평면성(Flatness of Image)