小說과 映畵技法 = Fiction and Film Technique
저자
崔承弼 (檀國大學校 文理大 英小說)
발행기관
학술지명
권호사항
발행연도
1986
작성언어
Korean
KDC
001.3
자료형태
학술저널
수록면
47-83(37쪽)
제공처
소장기관
As the conventions of fictions vary in the light of changing conceptions of human nature and problems, different novelists at different periods have adopted different devices and techniques to express their new vision.
Some of the devices that fiction borrowed from film may be analogically termed cinematic devices. The interplay between the motion picture and fiction in the twentieth century provides material for an enlightening and valuable study. Basic device for the cinema is that of montage. Among the secondary devices are such controls as 'multiple view', 'slow-up', 'fadeout', 'cutting', 'close-up', 'panorama', 'stop-motion', 'association', and 'flash-back'. Among the most significant cinematic effects for the novelists are a spatial configuration of the flow of time, an innate relativity and perpetual shifting of point of view and a vivid discontinuity of narrating material by means of montage. And the most dynamic aspects of the new novel form are simultaneity, or the depiction of two separate points in space at a single instant of time, multiperspectivism, or the depiction of a single event from radically distinct points of view, and montage, or the discontinuous disposition in the narrative of diverse elements. Examples of great success in the cinematic devices are to be found in Conrad, James and stream of consciousness novelists. In the close-up and the slow-up, or ralenti, we can find the characteristics of these methods. In the close-up we have a magnified and so more detailed presentation of a face or other feature, not necessary for the action, but often very effective for rendering the feeling, the esthetic intention, and for letting the impression of the character sink in. In the movement ralenti, which at the ordinary rate is perceived as one rapid curve, as undifferentiated outline, is slowed up to such an extent that we are able to distinguish its successive moment.
'Montage' in the film sense refers to a class of devices which are used to show interrelation or association of ideas, such as a rapid succession of images or superimposition of image on image or the surrounding of a focal image by related ones. It is essentially a method to show composit or diverse views of one subject... in short, to show multiplicity. Some of them are concerned with achieving the flow of events; others such as the fade-out and close-up are more concerned with subjective details. In a great deal of writing on montage, what is emphasized is the disjunctive, nonsequential nature of the two or more shots joined together. When two shots, mutually illogical, unconnected, or even contradictory, are brought together in the film, the automatic and relentless flow of images forces at least the appearance of sequence.
The idea that through discontinuity a more dynamic continuity can be achieved is the cornerstone of twentieth-century art. It is also at the root of the classic modern novel. The discontinuity of the plot and the scenic development, the sudden emersion of thoughts and moods, the relativity and the inconsistency of the time standard, are what remind us in the works of Joyce, Dos Passos, and Woolf of the cutting, dissolves and interpolations of the film. In a sense, the demonstration of the cinematic quality of the modern novel has been available ever since the first reader of Ulysses noted the montage techniques or since Dos Passos included the 'newsreel' and 'camera eye' sections in U.S.A. In other words, certain modern novels such as Mrs. Dalloway and To the Lighthouse proclaim themselves cinematic.
The most primitive form of movement through fictional time is that device called 'flash-back'. Having arrived at a point where reference to some previous period will be helpful, the writer halts and sends up signals to the reader. While its occasional use may not work too much harm, the simple flash-back becomes more and more awkward with repetition. So a subtler, far more inconspicuous method has to be discovered to accomplish the same effect: the solution those writers found was something which has been given the label of 'time-shift'.
The chief techniqe in controlling the movement of consciousness in fiction has been an application of the psychological free association. Three factors control the association: first, the memory, which is its basis: second, the senses, which guides it: the third, the imagination, which determines its elasticity. Both Joyce and Woolf use it, because the quality of consciousness itself demands a movement that is not rigid clock progression. It demands instead the freedom of shifting back and forth, of intermingling past, present, and imagined future. In representing this montage in fiction, Daiches points out there are two methods: one is that in which the subject can remain fixed in space and his onsiousness can move in time-the result is time-montage or the superimposition of images or ideas form one time on those of another; the other possibility is for time to remain fixed and for the spatial element to change, which results in space-montage. Despite the admirable way in which all this is done, it is Virginia Woolf who uses the device of space-montage most effectively. This is ecause she manages to relate it to her other characteristic devices and to subordinate it to her basic stream-of-consciousness subject matter. Perhaps the most frequently cited example of multiple-view, or space-montage in recent fiction is the scene in Mrs. Dalloway in which the airplane is skywriting. Woolf also makes some use of motifs as unifying devices. Such is the recurring symbol of the lighthouse in To the Lighthouse. Her reliance on symbols as structural pattern is most emphatic in a different sense. This is true in To the Lighthouse, where the entire novel is based on a set of primary symbolic values. The lighthouse is a symbol, just as the setting of the novel, the isolated island is used symbolically, and just as the characters and their actions are symbolic. Woolf passes from one consciousness to another, form one group to another, exploring the significance of their reactions, following the course of their meditations, carefully arranging and patterning the images that rise up in their minds, bringing together with care and economy, a select number of symbolic incidents, until a design has been achieved, and experience is seen as something inexpressible yet significant. We can find in her works so many symbols and images which are used functionally and dramaticatically and in addition to them most of the cinematic devices that are metioned above are used and interwoven skillfully.
서지정보 내보내기(Export)
닫기소장기관 정보
닫기권호소장정보
닫기오류접수
닫기오류 접수 확인
닫기음성서비스 신청
닫기음성서비스 신청 확인
닫기이용약관
닫기학술연구정보서비스 이용약관 (2017년 1월 1일 ~ 현재 적용)
학술연구정보서비스(이하 RISS)는 정보주체의 자유와 권리 보호를 위해 「개인정보 보호법」 및 관계 법령이 정한 바를 준수하여, 적법하게 개인정보를 처리하고 안전하게 관리하고 있습니다. 이에 「개인정보 보호법」 제30조에 따라 정보주체에게 개인정보 처리에 관한 절차 및 기준을 안내하고, 이와 관련한 고충을 신속하고 원활하게 처리할 수 있도록 하기 위하여 다음과 같이 개인정보 처리방침을 수립·공개합니다.
주요 개인정보 처리 표시(라벨링)
목 차
3년
또는 회원탈퇴시까지5년
(「전자상거래 등에서의 소비자보호에 관한3년
(「전자상거래 등에서의 소비자보호에 관한2년
이상(개인정보보호위원회 : 개인정보의 안전성 확보조치 기준)개인정보파일의 명칭 | 운영근거 / 처리목적 | 개인정보파일에 기록되는 개인정보의 항목 | 보유기간 | |
---|---|---|---|---|
학술연구정보서비스 이용자 가입정보 파일 | 한국교육학술정보원법 | 필수 | ID, 비밀번호, 성명, 생년월일, 신분(직업구분), 이메일, 소속분야, 웹진메일 수신동의 여부 | 3년 또는 탈퇴시 |
선택 | 소속기관명, 소속도서관명, 학과/부서명, 학번/직원번호, 휴대전화, 주소 |
구분 | 담당자 | 연락처 |
---|---|---|
KERIS 개인정보 보호책임자 | 정보보호본부 김태우 | - 이메일 : lsy@keris.or.kr - 전화번호 : 053-714-0439 - 팩스번호 : 053-714-0195 |
KERIS 개인정보 보호담당자 | 개인정보보호부 이상엽 | |
RISS 개인정보 보호책임자 | 대학학술본부 장금연 | - 이메일 : giltizen@keris.or.kr - 전화번호 : 053-714-0149 - 팩스번호 : 053-714-0194 |
RISS 개인정보 보호담당자 | 학술진흥부 길원진 |
자동로그아웃 안내
닫기인증오류 안내
닫기귀하께서는 휴면계정 전환 후 1년동안 회원정보 수집 및 이용에 대한
재동의를 하지 않으신 관계로 개인정보가 삭제되었습니다.
(참조 : RISS 이용약관 및 개인정보처리방침)
신규회원으로 가입하여 이용 부탁 드리며, 추가 문의는 고객센터로 연락 바랍니다.
- 기존 아이디 재사용 불가
휴면계정 안내
RISS는 [표준개인정보 보호지침]에 따라 2년을 주기로 개인정보 수집·이용에 관하여 (재)동의를 받고 있으며, (재)동의를 하지 않을 경우, 휴면계정으로 전환됩니다.
(※ 휴면계정은 원문이용 및 복사/대출 서비스를 이용할 수 없습니다.)
휴면계정으로 전환된 후 1년간 회원정보 수집·이용에 대한 재동의를 하지 않을 경우, RISS에서 자동탈퇴 및 개인정보가 삭제처리 됩니다.
고객센터 1599-3122
ARS번호+1번(회원가입 및 정보수정)