구로사와 아키라(黒澤明)의 「멋진 일요일」의 연출考 -카메라 기법과 음악을 중심으로-

이시준,장경남,황민호 한국일본언어문화학회 2014 일본언어문화 Vol.28 No.-

I studied on the directing of Kurosawa Akira’s One Wonderful Sunday centering around the shooting technique and film music. Summing up, the results are as follows. First, on the basis of the neo-realism defined by Susan Hayward, I reviewed what Suzuki Masaaki mentioned that Wonderful Sunday is ‘the Japanese version of neo-realism’. Although Wonderful Sunday was not filmed entirely on location and didn’t cast non-professional actors, I confirmed that other characteristics of this film are in accordance with the characteristics of the neo-realism film. Beyond distinguishing Suzuki’s opinion between right and wrong, This study provides theoretical basis appropriate for explaining the character and expression technique of Wonderful Sunday. Second, I considered the shooting technique in respect of the image transition and the camera movements separately. In regards to the image transition, I confirmed that Kurosawa didn’t enumerate cuts and space transition in order, but he used various technique with the course of the plot such as dissolve or fade. In addition, panning shot is standing out this film. Panning is originally to be used for the shooting scenes or movements not fit in a frame. But Kurosawa let the characters in and out of the frame so that he expose their feelings and situations effectively. As there are many scenes showing the couple running in this film, the director made those scenes relaxed, speedy and refined using the tracking shot, dolly-in technique and proper cut. Finally, I studied what Kurosawa intended with the film music by referring to the theory of Joseph Boggs since his previous work, The Men Who Tread On The Tiger’s Tail, received attention with its film music. Most of the inserted music was familiar to the Japanese public and arranged slightly so that the public could guess the original one. The music was arranged in various ways. In case of Frische Brise coming from the speaker of Yuzo’s lodging house after Masako left, It was used as same as the orginal one. The second movement of Schubert’s Unfinished Symphony was arranged for the ending scene. In case of My blue Sky in model house sequence, its lyrics was removed and the melody was changed cheerfully. Furthermore, in comparison to his previous work, I confirmed this film shows the remarkable direction method using the sound of reality and connecting the sound of reality and the background music.

『한송이 포도(一房の葡萄)』론 : 선생님의 조형과 포도의 상징성을 중심으로 focusing on the image of the ideal teacher and symbolization of the grape.

이시준 한국문학과종교학회 2005 문학과종교 Vol.10 No.2

『금석이야기집(今昔物語集)』의 이계(異界)・이향(異鄕) 관련 설화에 관한 고찰

이시준 단국대학교 일본연구소 2018 일본학연구 Vol.53 No.-

This study investigated tales re;ated to ikai(different world) and ikyoo(strange world) that appear in Konjaku Monogari. The result of the study, considering the “kyookai (boundaries)” in terms of time and space, is as below. In the tales related to jigoku(hell), mostly founded is “jigoku sosei tan”, in which one receives judgement by Enma Daioo in jigoku(hell) and then returns to gense (real world) because of the virtue that he practiced before. In these tales, the boundary between ikai and gense can be said to be “sigo(after death)” in terms of time, and “suihei takai kan (the other world horizontal; an extension of gense)” in terms of space. The jodo(pure land) can be said to be the same as jigoku(hell) in that it is the world of sigo(after death), howeber, there are only a few records mentioning the details of jodo and there can be seldom found tales related to “jodo homon tan”. “Encounters with oni” have characteristics in that the space itself where one encounters with oni appering at night turns into “ikai”. When considering in point of space, there can be found two types of tales; one which is clearly divided between the living space of oni and the living space of human, and the other which has a very vague distinction of the two spaces. Lastly, in the most cases in tales of ikyo, one experiences the other world when he loses the way in the mountains or drifts by wind and waves in the ocean, which has the very similar composition of motifs found in “ikyo homon tan”. 본고는 『今昔』일본부에 수록된 ‘이계’와 ‘이향’ 관련 설화를 고찰한 것이다. 고찰의 결과를 시간적・공간적 ‘경계’의 문제를 시야에 넣고 정리하면 다음과 같다. 지옥관련 설화에서 가장 많은 유형은 ‘지옥소생담’으로서 지옥에서 염마왕의 심판을 받고 현세에서의 어떤 공덕에 의하여 용서를 받고 현세로 돌아오는 패턴이 대부분이다. 이계와의 경계는 시간적으로 ‘사후’가 되며, 공간적으로는 현세의 연장선에 있는 ‘수평타계관’이라 할 수 있다. 정토의 경우는 사후에 경험하는 세계라는 점에서 ‘지옥’과 동일함에도 불구하고, 정토에 대한 기술은 빈약하고, 정토방문담의 예는 극히 드물다. 오니와의 조우는 비일상적인 경험으로 밤에 출몰하는 오니와 조우한 그 공간 자체가 ‘이계’로 화한다는 점이 특징이다. 공간적으로는 오니가 사는 공간과 인간의 거주공간이 비교적 구분되는 예와 공간적 경계가 모호한 예가 있다. 마지막으로 이향관련설화는 대부분 사람들이 산 속에서 길을 잃고, 혹은 바다에서 풍랑을 만나 표류하다가 이향을 경험하고 있으며, 민담의 ‘이향방문담’의 모티브구성과 매우 유사하다.

『 금석물어집(今昔物語集)』 권 22 「 등원열전(藤原列傳)」 의 방법과 그 논리로서의 「 공(公)」 중심주의 : 『 대경(大鏡)』 와의 비교를 통해서 The Descriptive Method And the Central Idea " Public "

이시준 한국일어일문학회 2000 日語日文學硏究 Vol.36 No.1

說話集の性格が集められた個個の說話によって大きく左右されることはいうまでもないが, もう一つ見過ごしてはいけないことは, 說話集の撰者は集を編む過程において大きな役割を果たしているということである. 『今昔』は收錄話の多くを和·漢の資料に依據している. しかし, 『今昔』の撰者は出典の說話をそのまま受容する消極的な姿勢ではなく, 獨自の構想による文學的な營みを行っている. 從って, 『今昔』の文學的な特性を明らかにするためには, 撰者の構想が作品にいかなる影響を及ぼしているのかを究明するすることが肝要であり, そのためには各說話に對する出典との緻密な對照を通して, 撰者の出典受容の樣相を分析することが有效であろう. このような觀點から, 本考察では, 撰者の構想が作品の完成に與えた「明」と「暗」の影響を對比して考えてみた. 具體的には, 『法花驗記』の例話との對比を通して『今昔』構想の創造的な一面を明らかにし, 『靈異記』の例話との對比を通しては『今昔』構想がもたらした矛盾を指摘した. とりわけ, 『靈異記』の「優婆塞」を『今昔』が「俗」に改變することによって起きた內容の破綻をまず指摘し, その背景に內在している時代狀況の變化がその破綻の原因であったことを述べた. この考察を通しても明らかになったように, 說話集の撰者の構想が各各の說話に及ぼす影響は多大なものであり, 『今昔』の文學的な特性を究明するためには, 出典との緻密な對比を通して, 影響關係を明らかにすることが有效であろう.

『日本靈異記』의 소(牛)轉生譚에 대한 고찰

이시준 한국일본어문학회 2007 日本語文學 Vol.35 No.-

東アジアにおける初期地獄説話の成立に関する考察

李市埈,張庚男,孔翔喆 중앙대학교 일본연구소 2011 日本 硏究 Vol.0 No.31

구로사와 아키라(黑澤明)의「내 청춘에 후회없다(わが青春に悔なし)」考 : 야기하라 유키에(八木原幸枝)의 '자아'를 중심으로

이시준 韓國外國語大學校 外國學綜合硏究센터 日本硏究所 2012 日本硏究 Vol.0 No.52

黒沢監督は前後日本人の自我に対して深く考え、その作品「わが青春に悔なし」で、主人公幸枝を通じて'自我'探求の大切さを力説した。まず、黒澤監督は保守的で現実志向的且つ安定的な生活を追い求める八木原奥さんを通じて,伝統的で固定的な女性とは距離のある戦後の近代的でエゴが強い幸枝の性格を明確に浮彫りにしている。一方、封切り当時、幸枝のヒステリックで奇怪な行動に対する観客たちの当惑こそ黒沢監督が都市的で,鋭敏であり, 自分の感情と'理想'に充実な新しい女性像を作り出した傍証と言えよう。次に幸枝の決断による自我完成に関してであるが、一番目は東京での独り立ちを決断する段階で「新しい生活」を希望するが、まだ、主体的にどのように生きていくかはまだ決っていない状態であった。二番の決断は野毛との結婚で、生きているという感じと幸せを得たが、野毛の行動に自分の生の意味,すなわち自我実現を半分無意識的に投映させている段階であったと言えよう。続けて三番目の決断は野毛の実家へいくことであって、彼女の農村行きは真実と正義を歪曲して「スパイ」だと駆り立てた村人たちと社会に対する'抗議'であった。野毛の信念を自分の「自我」に同一化した結果だと言える. 最後に'農村指導者'になろうとした決断は、自らが「一番生甲婓がある」事と確信した, 幸枝が勝ち取った「自由」であると同時に、自我実現の窮極的な到達点となった。

고레에다 히로카즈의 『영화를 찍으면서 생각한 것』

이시준 숭실대학교 인문과학연구소 2022 인문학연구 Vol.51 No.-

反社會的存在としての盜賊と說話集における制壓の倫理

李市埈 단국대학교 일본연구소 2000 일본학연구 Vol.7 No.-

구로사와 아키라의 ≪가장 아름답게≫에 나타난 ‘순수한 영화적 목표’에 대한 고찰

이시준 일본어문학회 2022 일본어문학 Vol.96 No.-

“The Most Beautiful” is the second film released on April 13, 1944 by Toho Studios, and depicts the story of female workers in a military factory at the end of the Pacific War. According to previous studies, most of them viewed the film as an ideological state-run film adapted to state power due to the strong nature of propaganda. However, there is very little analysis about the content and artistic side of the film. Thus, this study examines the following three points, focusing on the director’s intentions and messages. First, it is pointed out that the director attempts to adopt a semi-documentary format. Second, it is claimed that this film tries to portray ordinary girls, not heroes involved in the war, Lastly, it is considered that it has an emphasis on ‘personality completion’ and ‘growth’ as the themes throughout the film.