映畵의 文學的領域과 言語問題 = The Role of Literature in Film and Language

다국어 초록 (Multilingual Abstract)

Introduction
1. Preface
2. What does montage do on the firm.
3. Scenario and its literary characteristics.
4. Differences between Film and Drama.
5. Film dialogue and language.
6. Conclusion.
1. Preface
1) The film is presented to its audience not in a narrative way throngll a visual, verbal and aural medium.
2) Describe how to be brought to clearness about the similarities and differences between novel and firm.
3) Study in case of novels in to film and filmed novels.
4) The function of color on the screen nay become as important an element in film technique as photography and sound.
2. What does montage do on the film.
1) About the necessity of study to know the literary portion in the cinema and how literature affects on film by researching of the fundamental conception of the film art (L'art Cinematique)
2) Literary expression stimulates one's spritual world as a static condition but visual and verbal montage leads to dynamic.
3) 7he film has acheived as a new art today and the frequently heard view that cinema is not art should be rejected.
4) Comparative study of montage theories. (It is easy to research the contemporary film by comparing the elements of montage each others.) .
A. Lef Kuleshov's "The foundation of cinema study"
B. V.I. Pudovkin's "Film techinique and film Acting"
C. Sergei M. Eisenstein's "Film form and· film sense", "Montage 1939"
D. Semion Timoshenko's "Film art and montage"
E. Rudolf Arnheim's "Film as Art"
F. Bela Balazs's "Kino and socialistic realism"
G. Louis Delluc's "Photogenie"
H. Leon Moussinac's "Visual Rhythm" (Naissance du Cinema)
I . Jean Epstein's "Cine Poem"
"Photogenie de L'impondrerable"
J . paul Rotha's "The film till now"
"The film today"
K. Raymond Spottiswoode's "A Gramar of the film"
5) In the film today, it is not the problem to combine shots one by one so as to composc a story line but rather to make every shot relevant to the present age.
3. Scenario and it's literary characteristics.
1) To reconfirm that the film is art enable gives us an easier Ivay to study the literary characteristics of scenario.
2) Drama has been known as a field of literature because it consists of words. In the same way scenario can rise to the level of literature by using verbal medium.
3) Scenario has been recognized as a sort of work diagram for the movie director by a number of people but it should be understood as a 'literature of induction' for the film director's spritual world.
4) How should novels be adapted for the movies?
5) Scenario has a powerful possibility to express its contents more than novel dose because the film art has an image, sound and color, which are real elements of our real life.
4. Differences between Film and Drama
1) Film art has taken on more literary characteristics by having the cinema-turfy since the advent of dialogue with the sound film.
2) To study again the movements of "Film d'art" may be an important reference to clear the relations between film and drama.
3) About the dramatic film and filmic drama.
Ex. A. Dramatic film : "Detective story"
Henry ling's stage play
Directed by william wyler
B. Filmic Drama "Henry V"
Shakespeare's Drama
Directed by Laurence olivier
4) It is an urgent problem how to extract out space and time problem from aim into drama, equally film has to get dialogue and action from stage.
5. film dialogue and language
1) Comparison of talkie film with silent picture.
For talkie; "No art can be compared in beauty with reality"
-Sergei M. Eisenstein.
For silent : "Dialogue narrows the world of the film:'
-Rudolf Arnheim.
2) Only language is all in the not·el and in the same way, Image, sound and dialogue are all in the contemporary firm.
3) Dialogues are not only a simple conversation but they have literary characteristics because they are the writer's language as they are his literature.
4) Rhythmic dialogue.
An emotion contained in the dialogue stimulates the partner's nerve and makes him respond with emotional speech and excited action.
We can find a wonderful rhythm of speech through the continuous exchange of those dialogues between each other.
6. Conclusion
1) Scenario is inevitably composed of two parts of sentences in which we can find dialogue part and the other. As scenario writer regards the dialogue as an important thing so the sentences of the other part also important for him from the viewpoint of literary characteristics at the same specific gravities of whole scenario.
2) Film must increase it's artistic Qualities not only by the literature of dialogue but by the literary characteristics of the whole scenario.
3) Always actors deeply think of dialogue which controls their actions all over the film because action is emotionally connected with language. But sometimes we find that the language expresses diametrically opposite meaning from thinking.
Ex. The cases of these;
(1) Though he loves her so much but his language means he does not love her.
(2) His dialogue is "I'm not sad." but in fact he is weeping in his mind.
(3) Some times we make a lie consciously. etc.
(4) About Sergei M. Eisenstein's claim : "The intellectual film is the only thing capable of overcoming the discord between the speech of logic and the speech of imagery.",
(5) Korean language in the film.
(6) As literature attempts (james Joyce) to express the inner processes of thought and emotion, film has to research how to describe the process of the mind visibly.

목차 (Table of Contents)

• 1. 序論
• 2. Montage의 映畵的敍述
• 3. Scenario의 文學性
• 4. 映畵의 演劇과의 關聯性
• 5. 臺詞와 言語問題
• 6. 結論