바즈 루어만 감독 뮤지컬 영화의 특징과 음악연구 : 물랑루즈, 로미오와 줄리엣, 댄싱히어로를 중심으로

김윤식,김영삼,윤종수 한국엔터테인먼트협회 2019 한국엔터테인먼트협회 학술대회 Vol.2019 No.10

본고는 한국 영화중 아직까지 큰 주목을 받지 못하는 뮤지컬장르 영화에 대한 연구로서 할리우드의 대표적 뮤지컬영화감독 중 한명인 바즈 루어만을 대상으 로 그의 대표작 <댄싱히어로>, <로미오와 줄리엣>, <물랑루즈>를 중심으로 그가 만든 뮤지컬영화가 갖는 영상과 음악의 특수성을 도출하고자 하였다 그 결과 첫 번째 <댄싱 히어로>에서는 댄스 스포츠의 다양한 춤을 역동감 있는 촬영기법으로 담아내며 여 주인공인 티나가 직접 부른 메인 테마 음악 'Time After Time' 를 사용함으로서 최신 팝 음악과 스타일리쉬한 영상미로 뮤지컬영화 에 트랜디한 감성을 중요시 했다. 그리고 두번째, 셰익스피어의 원작인 <로미오 와 줄리엣>에서는 대사와 스토리는 유지하되 일반적인 극영화와 달리 화려한 패 션과 다양한 록 음악으로 가장 현대적이고 트랜디한 MTV스타일을 구축했으며, 마지막 <물랑루즈>는 고전적 백 스테이지 뮤지컬과, 발리우드적 뮤지컬영화의 특성, 트랜디한 믹스 앤드 매치 음악을 사용함으로서 전통적인 뮤지컬공연의 화 려한 비주얼과 음악을 현대적 감각으로 재탄생 시키는 바즈 루어만 감독의 뮤지 컬영화 스타일을 만들어 가고 있음을 확인하였다. 결론적으로 바즈루어만 감독의 뮤지컬영화는 화려영상미와 더불어 다양한 주크 박스식 음악을 연결하여 트랜디하게 사용함으로서 자신만의 뮤지컬영화 스타일 을 만들어 가고 있으며, 기존의 것을 새롭게 만드는 바즈 루어만의 독특한 연출 방식은 한국 뮤지컬영화가 지향해야 할 방향을 제시하고 있다.

바즈 루어만 감독 뮤지컬 영화의 특징과 음악연구 : 물랑루즈, 로미오와 줄리엣, 댄싱히어로를 중심으로

김윤식,김영삼,윤종수 한국연기예술학회 2019 한국연기예술학회 학술대회 Vol.2019 No.10

본고는 한국 영화중 아직까지 큰 주목을 받지 못하는 뮤지컬장르 영화에 대한 연구로서 할리우드의 대표적 뮤지컬영화감독 중 한명인 바즈 루어만을 대상으 로 그의 대표작 <댄싱히어로>, <로미오와 줄리엣>, <물랑루즈>를 중심으로 그가 만든 뮤지컬영화가 갖는 영상과 음악의 특수성을 도출하고자 하였다 그 결과 첫 번째 <댄싱 히어로>에서는 댄스 스포츠의 다양한 춤을 역동감 있는 촬영기법으로 담아내며 여 주인공인 티나가 직접 부른 메인 테마 음악 'Time After Time' 를 사용함으로서 최신 팝 음악과 스타일리쉬한 영상미로 뮤지컬영화 에 트랜디한 감성을 중요시 했다. 그리고 두번째, 셰익스피어의 원작인 <로미오 와 줄리엣>에서는 대사와 스토리는 유지하되 일반적인 극영화와 달리 화려한 패 션과 다양한 록 음악으로 가장 현대적이고 트랜디한 MTV스타일을 구축했으며, 마지막 <물랑루즈>는 고전적 백 스테이지 뮤지컬과, 발리우드적 뮤지컬영화의 특성, 트랜디한 믹스 앤드 매치 음악을 사용함으로서 전통적인 뮤지컬공연의 화 려한 비주얼과 음악을 현대적 감각으로 재탄생 시키는 바즈 루어만 감독의 뮤지 컬영화 스타일을 만들어 가고 있음을 확인하였다. 결론적으로 바즈루어만 감독의 뮤지컬영화는 화려영상미와 더불어 다양한 주크 박스식 음악을 연결하여 트랜디하게 사용함으로서 자신만의 뮤지컬영화 스타일 을 만들어 가고 있으며, 기존의 것을 새롭게 만드는 바즈 루어만의 독특한 연출 방식은 한국 뮤지컬영화가 지향해야 할 방향을 제시하고 있다.

제피렐리와 루어만의 『로미오와 줄리엣』 영화 비교

신웅재(Woong-Jae Shin) 한국셰익스피어학회 2003 셰익스피어 비평 Vol.39 No.2

This study compares Franco Zeffirelli's Romeo and Juliet and Baz Luhrmann's William Shakespeare's Romeo+Juliet to examine how each movie deals with the play's main themes of love, generation gap, social environment. and fate. Zeffirelli's movie convincingly and movingly portrays the joy and beauty of the teenagers' passionate love, which is described here as charmingly fresh and pure, with touching details and rich eroticism. This movie also emphasizes the romantic purity and moral superiority of the young generation over the worldly-minded older generation. Furthermore, this movie reveals an optimistic view that the young protagonists' love and their sacrificial deaths will bring peace and order to Verona. And the circle images that often appear in the movie suggest that youthful love, despite its transitoriness, will be reborn generation after generation. On the other hand, Luhrmann's movie focuses on the corrupt social environment as well as the tyranny of Fate, both of which constantly threaten to destroy the protagonists' love. This movie portrays an extremely pessimistic view that romantic love is merely an old-fashioned ideal and therefore no longer possible in the depraved contemporary world. The older generation in this movie is much more perverted and intimidating than in Zeffirelli's movie; indeed, they represent the chaotic modem society in which all kinds of iniquities and crimes are prevalent. Not only the older generation but also blind (or malignant) Fate ruthlessly frustrates the protagonists' love and finally destroys them. In their attempts to escape from such threats and dangers, the two lovers often find their temporary refuges in various types of water-an aquarium, a swimming pool, a sea of candles and blue neon signs, etc. But this water motif also indicates the movie's pessimism, for the watery world only provides a temporary relief and ultimately leads the protagonists to death. Thus Zeffirelli's movie, which focuses on praising youthful love, is closer to a romantic tragedy, whereas Luhrmann's movie, which stresses the ills of the corrupt society and the cruelty of Fate, tends to be a social problem drama or a tragedy of fate. To compare both merits and demerits of the two movies, Zeffirelli's movie vividly and movingly reconstructs Shakespeare's timeless love story, but it fails to raise any deeper issues of contemporary society or of human destiny. On the other hand, Luhrmann's movie provides a sharp insight on the problems of the modern world or the tragic destiny of mankind, yet this insight causes the glory of love, the major theme of Shakespeare's Romeo and Juliet, to be thrust aside. Zeffirelli's movie is faithful to Shakespeare's play, whereas Luhrmann's movie departs from both the setting and the message of the text in order to experiment with it for the director's own purpose. Both approaches are considered equally worthwhile because each attempt can increase the value of the Shakespearean text by enhancing its universality and modem relevance.

The New American Adam, Jay Gatsby

임정명(Jung-Myung Lim) 미래영어영문학회 2016 영어영문학 Vol.21 No.1

『위대한 개츠비』를 전형적인 미국적 꿈의 좌절과 오류의 사례로 읽어내는 비평의 흐름과는 별개로 본 논문은 개츠비를 휘트먼이 예시한 미국적 아담의 계보를 잇는 인물, 즉 “자유롭고 순수하며 외로우나 앞으로 나아갈 수밖에 없는” 변화와 성장 중심의 동적인 삶의 주인공으로 읽어낼 것이다. 또한 러브조이, 바흐찐, 펙햄 등의 비평적 동조를 얻어, 보편적 성장 지향의 창조적 인간 의지로서의 낭만주의적 삶의 자세가 재즈 시대의 실용주의적 삶의 태도를 넘어서는 개츠비의 삶의 중심 원리로 기능했음을 밝히는 데 집중할 것이다. 개츠비의 사회 문화적 배경과 정신 분열증적 경향을 동반하는 행동 양식은 그의 낭만주의적 삶의 가치를 물질주의적 태도로 폄훼하게 하고, 그를 쇠락의 길을 피할 수 없었던 1920년대의 시대적 희생양으로 오인하게 한다. 바즈 루어만 감독의 <위대한 개츠비>는 실용주의적 삶의 잣대로 개츠비의 삶을 재구성한 대표적인 경우이며, 독자와 관객들이 개츠비의 삶의 가치를 이해함에 있어 낭만주의적 비전을 배제할 경우 노출될 수밖에 없는 제한된 작품 읽기의 전형을 보여준다. 루어만 감독의 『위대한 개츠비』 읽기의 한계를 밝혀냄과 동시에 사회 문화적, 지적 특권의 결여에도 불구하고 신 미국적 아담으로서 개츠비가 구현해낸 낭만주의적 비전을 분석한다.

뮤지컬, 영화화된 셰익스피어 극과 원작과의 비교연구

김미예(Miye Kim) 한국셰익스피어학회 2014 셰익스피어 비평 Vol.50 No.4

Romeo and Juliet by Shakespeare has been made into a musical piece, West Side Story and two pieces of movies, Romeo and Juliet directed by Franco Zeffirelli(1968) and Shakespeare”s Romeo+Juliet by Baz Luhrmann, all of which have gained great popular success. Analyzing how each of the popular works deals with the last scene of death and reconciliation and comparing them with that of its original work by William Shakespeare, I was to find the answer to what Shakespeare tries to tell through the senses and sensibilities of the 14 or 15-year-old boy and girl. Romeo+Juliet by Baz Luhrmann, tries to show that time error or fortune is the decisive factor to cause young lovers’ death. The intensity of the moment of death makes us forget the importance of the entrance of Friar Laurence in Shakespeare’s Romeo and Juliet. Friar Laurence enters between the death of Romeo and that of Juliet in Shakespeare’s play, which makes us somewhat yawn. Nevertheless, Franco Zeffirelli intentionally cross-cuts by inserting the Friar Laurence scene between the two deaths. Friar Laurence presses her to leave the tomb, when Juliet sees Romeo’s death and firmly refuses to go out and remains with dead Romeo. Shakespeare shifted the focus from death to choice behavior by inserting the scene of the entrance of Friar Laurence and by showing a strong-willed 14-year-old girl. Zeffirelli read delicately Shakespeare’s intention and never missed its core that gave their love “mythic intensity”(Fisher 21). In West Side Story, Maria lives after the death of Tony and makes the ancient grudge of two immigrant gangster groups in 50’s be resolved. By putting stress on resolving the national and racial problem of America, this musical piece has lost the original intensity and meaning of Shakespeare’s Romeo and Juliet which shifts the focus from death to the choice behavior.

A Comparison of Two Adaptations of Romeo and Juliet (1968 & 1996)

Yong-Won Choi 한국영상문화학회 2010 영상문화 Vol.0 No.16

<윌리엄 셰익스피어의 로미오+줄리엣>의 미디어와 소비문화

이혜경 한국중세근세영문학회 2014 고전·르네상스 영문학 Vol.23 No.2

Baz Luhrmann’s radical film William Shakespeare’s Romeo+Juliet (1996) offers a stunning contemporary vision of Shakespearean play text. Luhrmann uses a variety of media forms and images from consumer culture to create very popular filmic productions, addressed to an up-to-date modern mass audience. William Shakespeare’s Romeo+Juliet seems like a good example of post-modern pastiche, which puts together a plethora of allusions, copies, and intertextuality (the western movie, the gangster movie, the kung-fu pic, the urban thriller, crime-thriller, the action comedy, MTV, etc). He borrows the characteristics of many genres and styles and re-works these elements through his signature “Bazmark” style to make postmodern pastiche, in which the distinction between high and low art is collapsed and everything has equal value. In Luhrmann’s film, Shakespeare’s language becomes the source of advertising copy and a brand name. And the film, where sacred and profane exist in a dynamic balance, is so saturated with religious symbolism, that is intimately mingled with consumer culture. The mockery of a religion plays a clashing role in Luhrmann’s mise-en-scène, for the giant statues of Christ, Mary, and various saints compose a powerless group of silent onlookers to the violence in Verona, and for the film portrays religion as a media icon or a brand name or a just another commodity in post-modern consumer culture. To mix popular culture with elements of high culture, Luhrmann opens his film with a television news report that functions as the classical chorus, followed by the hasty progression of newspaper headlines concerning the “new mutiny” and “ancient grudge” between Capulets and Montagues. But Jean Baudrillard claimed that everything today is composed of simulacra of previously existing things. According to Baudrillard’s theory, the news on television is the hyperreal, though it seems to refer to something real; the news is a simulation designed to hold the attention of the viewer. In the circular frame where everything begins and ends with television news, the whole tragedy of Romeo and Juliet is presented as an event within the TV news. Luhrmann’s film can be read as a canonical example of iconoclasm, for it challenges to the Shakespearean canon and timeless, eternal values he represents. Though Luhrmann may try to make Shakespeare relevant to today’s society from a new contemporary innovative viewpoint, the practice of this film consequently seems to cast a doubt on Shakespearean icon of literary value and to destabilize the previously unshakeable stability of his authority. Luhrmann’s flamboyant cinematographic style, “Bazmark,” has positioned him as an innovative, creative auteur competing with High Culture Shakespeare within the domain of contemporary cultural milieu. Baz Luhrmann’s radical film William Shakespeare’s Romeo+Juliet (1996) offers a stunning contemporary vision of Shakespearean play text. Luhrmann uses a variety of media forms and images from consumer culture to create very popular filmic productions, addressed t o an up-to-date modern mass audience.William Shakespeare’s Romeo+Juliet seems like a good example of post-modern pastiche, which puts together a plethora of allusions, copies, and intertextuality (the western movie, the gangster movie, the kung-fu pic, the urban thriller, crime-thriller, the action comedy, MTV, etc). He borrows the characteristics of many genres and styles and re-works these elements through his signature “Bazmark” style to make postmodern pastiche, in which the distinction between high and low art is collapsed and everything has equal value. In Luhrmann’s film, Shakespeare’s language becomes the source of advertising copy and a brand name. And the film, where sacred and profane exist in a dynamic balance, is so saturated with religious symbolism, that is intimately mingled with consumer culture. The mockery of a religion plays a clashing role in Luhrmann’s mise-en-scène, for the giant statues of Christ, Mary, and various saints compose a powerless group of silent onlookers to the violence in Verona, and for the film portrays religion as a media icon or a brand name or a just another commodity in post-modern consumer culture. To mix popular culture with elements of high culture, Luhrmann opens his film with a television news report that functions as the classical chorus, followed by the hasty progression of newspaper headlines concerning the “new mutiny” and “ancient grudge” between Capulets and Montagues. But Jean Baudrillard claimed that everything today is composed of simulacra of previously existing things. According to Baudrillard’s theory, the news on television is the hyperreal, though it seems to refer to something real; the news is a simulation designed to hold the attention of the viewer. In the circular frame where everything begins and ends with television news, the whole tragedy of Romeo and Juliet is presented as an event within the TV news. Luhrmann’s film can be read as a canonical example of iconoclasm, for it challenges to the Shakespearean canon and timeless, eternal values he represents. Though Luhrmann may try to make Shakespeare relevant to today’s society from a new contemporary innovative viewpoint, the practice of this film consequently seems to cast a doubt on Shakespearean icon of literary value and to destabilize the previously unshakeable stability of his authority. Luhrmann’s flamboyant cinematographic style, “Bazmark,” has positioned him as an innovative, creative auteur competing with High Culture Shakespeare within the domain of contemporary cultural milieu.