<플란다스의 개>(2000)에 나타난 자기반영성과 봉준호의 영화적 자의식:‘구라풀기(Fabulieren)’와 ‘슬랩스틱(slabstick)’을 중심으로 = Cinematic Reflexivity in “BARKING DOGS NEVER BITE”(2000) and Cinematic Self-consciousness of Bong Joon Ho: Focused on Fabulieren and Slapstick

다국어 초록 (Multilingual Abstract)

Bong Joon-ho’s oeuvre not only tells interesting stories, but also epitomizes the essence of cinema as a visual medium, which has become popular as a medium of entertainment and leisure in 20th century mass society. At the same time, Bong Joon-ho’s films make us think about the meaning of cinema as a representational art in the point that they seriously explore the reality of the times, society, and human beings. Bong Joon-ho’s cinematic achievements are related to his own conscious cinematic attitude. Bong Joon-ho wants to express his own interest in both human beings and the reality of the times with the way that is unique to cinema itself. In order to understand Bong Joon-ho’s cinematic self-consciousness, this article pays close attention to the ‘slabstick’ and ‘fabulieren’ scene compositions in BARKING DOGS NEVER BITE(2000). Slapstick, which provides moments of outrageous laughter, and fabulieren, in which a character rambles on and on about a story as if he or she were the narrator, are his cinematic trademark of most of Bong Joon-ho’s films. Both of these compositional devices function as spectacles in their own right, competing with the narrative and reminding us of the cinematic reflexivity. In the fact that these two compositional methods correspond to the essential elements of the cinematic medium, Erzählen/telling and Zeigen/showing, we can see Bong Joon-ho’s attitude to express his own interests in a “cinematic unique way”. This paper explores the operation and meaning of these two cinematic configurations, ultimately identifying Bong Joon-ho’s cinematic orientation