미조구치 겐지의《지카마쓰 이야기(近松物語)》에 대한 고찰

김희경 대한일어일문학회 2015 일어일문학 Vol.66 No.-

Mizoguchi Kenji is a director whom focuses his camera on women who managed to live a tragic life forced to sacrifice and oppressed under pressure and pain, followed by the modern patriarchal system controlled by capitalism. One of Mizoguchi Kenji’s historic play, “Chikamatsu Monogatari” was made in 1954, and it is an adaption of Ihara Saikaku’s “Goshoku Goninonna” and Chikamatsu Monzaemon’s “Daikyoji Mukashigoyomi.” Both original literatures are based on one same true incident. Mizoguchi Kenji partially adopted these originals and restructured the epics into his own new style. In this study, comparison is made between “Chikamatsu Monogatari” and classic original literatures about how Osan, a new female protagonist who escaped from the existing stereotyped images of women described by the director, was created through the perspectives of male characters. Males characters around Osan, especially her husband, Ishun, and her brother, Doki, only uses Osan to achieve their own objectives, and act an crucial role into leading Osan into her tragic ending. Another male character, Mohei is unlike other male characters appearing in existing movies of Mizoguchi Kenji. In the film, Mohei has characteristics the director usually portrays as the image of women; simplehearted, selfless male character to make Osan’s change stand out. Mizoguchi Kenji makes Osan, the female protagonist, suffer and sacrifice in the first half of the film; his own typical image of women. However, in the last half of the film, as Mohei confesses his love to Osan, she transforms into a strong woman who knows how to confront hopeless destiny. Although her change was triggered by Mohei, it was true love that changed each other, presenting the theory of relativity of ego resilience. In conclusion, implicit in the movie “Chikamatsu Monogatari,” the director, through Osan’s eyes, portrays importantly his message about urging women’s postwar ego resilience.

색의 도전, 요키히, 양귀비 황후 (켄지 미조구치, 1955) -색상과 영화-

쟈크린모리소 ( Jacline Moriceau ) 한국영상미디어협회 2016 예술과 미디어 Vol.15 No.2

Kenji Mizoguchi directed more than eighty films before 1954. He enjoyed full recognition from his peers and from audiences in Japan as well as in Western countries. In 1952 his Saikaku ichidai onna earned the Silver Lion in Venice in 1952 and so did his Ugetsu monigatari in 1953. Masaichi Nagata, president and founder of the film production firm Daiei offered him a contract for Yokihi (Empress Yang Kwei-fei) which was to be Mizoguchi’s first colour film. This co-production with the Hong-Kong based firm Run Run Shaw is about an episode from the history of China and Japan: the tragic fate of Empress Yang Kwei-fei and her noble death. The tragedy had grown into a legend when two monks, Po Chu-Yi (772-846) and Tou-Fu wrote songs about the heroine, respectively known as “The Song of the Long Regrets” and “The Ballad of the Luth”. Though the political context in 1955 was a period of hostility between China and Japan, the film was made successfully and became known as Mizoguchi’s first colour film. How developed was the research in film and colour at the time? What was Mizoguchi’s own opinion of colour in film then? How did colour contribute to the transformation of the real figure of the Empress?

설화세계의 전후적 재현

김희경(Kim, Hee-Kyoung) 대한일어일문학회 2017 일어일문학 Vol.74 No.-

Sansyodayu(1954) directed by Mizoguchi Kenji was titled from an episode of a tale, Sekyobushi as an original. This tale was adapted by Mori Ougai in the era of Meiji as a short novel. Mizoguchi organized it as a story of movie closer to Ougai"s story than the original. Sansyodayu is a story which a hero, Zushio was parted with Mom by traffickers of human beings on the way of meeting exiled Dad, and then sold to the ferocious lord of a manor, Sansyodayu with his sister, Anju. Zushio was suffered from sever hard works under Sansyodayu"s manor, succeeded in escaping with his sister"s help, went to Kyoto, regained his status with assistance of nobles, and finally punished Sansyodayu and met his mom again. However, these three texts have epic characters in each produced context, and went through big changes in the story plot. Mizoguchi"s movie has Japanese Post-War situations and ended tragically while tales or novels happily. The key points of context in the movie are practices of modern ideology, that is, "Human beings cannot be human beings if they lose mercy. Have mercy on the people though blaming myself. Human beings are born equal in the world. There should no discriminations in happiness." The ideology of his father"s instructions of the departed is fictions created by Mizoguchi as the original tales were born on the background of middle ages, and also Japanese contemporary perceptions on the real world. In other words, it can be said that Mizoguchi intended to reveal the violence of capital and power and the irony of premodern patriarchy in Japanese society in the 1950"s.

미조구치 겐지의 1930년대 영화를 통해서 본 여성의 주체성: 「아이앤쿄(愛怨峽)」를 중심으로

김희경 ( Heekyoung Kim ) 사단법인 아시아문화학술원 2021 인문사회 21 Vol.12 No.2

본 연구는 일본 사회에 엄존하고 있는 전근대적 봉건성과 전통적 관습에 굴복하지 않고 자신의 주체성을 드러내는 1930년대 여성의 삶을 미조구치 겐지의 영화 「아이앤쿄」를 통해서 살펴본 연구이다. 본고에서는 우선 영화의 모티브가 된 원작과의 관련성을 살펴보았다. 원작과 영화는 신분이 낮은 여성이 신분이 높은 남성에게 버림받는다는 내용은 공통되지만, 몇 가지 점에서 차이점을 보인다. 특히 원작의 결말과 달리 주체적인 삶을 선택하는 여주인공의 당당한 태도는 틀림없이 당시 많은 하층민 여성들에게 존엄성과 자존심을 각성하게 해 준 역할을 하였을 것이다. 전근대적 가부장제와 사회적 신분제가 엄존하고 있던 일본 사회의 질곡 속에서도 자기실현을 꾀하려는 당대 여성들의 이러한 자각적인 몸부림이 있었기에 여성들의 사회적 역할의 확보가 가능했을 것으로 사료된다. 그러나 영화는 계급의 문제점을 건드리면서도 결과적으로는 남녀 개인 간의 감정 대립과 해소 차원에 머무르고 있다는 한계성을 보여주고 있는데, 이것은 감독이 자신의 작품세계의 영역인 신파성을 벗어나지 않았음을 입증하는 서사 구성이라고 할 수 있다. 본 연구는 1930년대 여성의 삶과 지위에 대한 실증적인 근거를 제시함과 동시에 일본영화사와 여성사 연구에 하나의 시사점을 제공할 수 있을 것이다. This study examines the lives of women in the 1930s, who reveal their subjectivity without surrendering to the premodern feudalism and traditional customs that existed in Japanese society through the film “Aienkyo” by Kenji Mizoguchi. In this paper, first of all, the relationship with the original work Resurrection, which became the motive of the movie, was examined. The original and the film share that women with low status are abandoned by men with high status, but they differ in several ways. In particular, unlike the ending of the original, the heroine’s confident attitude to choose a subjective life must have played a role in awakening the dignity and pride of many lower-class women at that time. It is believed that it was possible to secure the social role of women because there was such a self-conscious struggle of women of the day to seek self-realization despite the frenzy of Japanese society where the pre-modern patriarchy and social status system existed. However, the film touches the problems of the class, but as a result, it shows the limit of staying at the level of emotional confrontation and resolution between men and women. This is a narrative that proves that the director has not deviated from the realm of his work world It can be called a composition. This study is meaningful in that it provided an empirical basis for women’s life and status in the 1930s, and provided an implication for the study of Japanese film history and women’s history.

‘이모노치카라(妹の力)’를 활용한 캐릭터 고찰 - 영화 <산쇼다유(山椒大夫)>의 안주(安寿)를 중심으로 -

손정아 한양대학교 일본학국제비교연구소 2016 비교일본학 Vol.37 No.-

본고는 일본의 ‘이모노치카라(여성력, 妹の力)’를 재현한 캐릭터로 산쇼다유(山椒太夫) 전설의 안주(安寿)를 분석하고자 한 것이다. 안주는 일본 각 지역의 구두 전승 되어 내려오던 산쇼다유 이야기 속 주인공으로서 시대에 따라 다양한 장르와 작품 속에서 표상되어 왔다. 옛날이야기 형태 속의 안주는 주로 신적 이미지로 그 지역의 자연환경인 산이나 신의말을 전한다는 무녀 등과 관련되었다. 대표적으로 일본의 쓰가루(津軽)에 전해져 내려오는산쇼다유 전설의 원류라고 할 수 있는 「이와키사마 일대기(お岩木様一代記)」에서는 신성시되어 온 산의 신(神), 안주의 신적이미지의 원형인 「あんじゅが姫」의 이야기를 다룬 것이다. 최초로 문자로 기록된 셋쿄부시(説経節) 산쇼다유물은 서민들의 교화를 위한 설법의 특징이 짙어 권선징악・인과응보 사상이 강하다. 따라서 안주는 산쇼다유가(家)의 잔인성을 부각시키기 위한 희생적 존재로 구현된다. 미조구치 겐지의 영화 <산쇼다유>의 안주는 여동생으로 등장하여 그간 신적・주술적 이미지를 표방하지 않고 「모든 사람은 평등하고 행복할 자격이 있다」라는 아버지의 가르침을몸소 실천하는 자애로운 존재로 그려졌다. 산쇼다유의 기본 구조에서 가장 핵심이었던 안주의 강한 신적 이미지는 미조구치 겐지의 영화에서 최초로 탈피되었다. 한 인간으로 그려진 안주의 체념(あきらめ)과 고결한 마음은 뛰어난 영상미로 남게 되어 영화 <산쇼다유>는산쇼다유물의 또 다른 창작물로서 자리매김했다. This paper deals with the character analysis focusing on Anju in Sanshoudayu viewed from ImonoChikara(The power of women), which has been emphasized from old times in Japan. Anju, the heroine of the tale of Sanshoudayu which was an originally oral transmission, has been represented as different kinds of genres and Japanese literatures. In the early works of Sanshoudayu, she was an image of goddess related to the natural environment of local areas such as the one in the Iwakisama Biography from Tsugaru area. Anju was also represented as a sacrificial victim in order to emphasize the cruelty of the Shanshoudayu family through Setkyoubushi which was a kind of genre for enlightening ordinary people. The character of Anju had changed in Mizoguchi Kenji’s Sanshoudayu the movie. Mizoguchi broke the traditional divine image of Anju and recreated her as human being who took care of people around her. She is always conscious of other people and practices her father’s words, which is “Men are created equal. Everyone is entitled to their happiness.” Although Anju’s image of goddess was totally removed, her resignation(akirame) for people and virtuous mind could be represented well and recreated another ImonoChikara by Mizoguchi’s magnificent visuals, which made his work become another distinctive parody of the tale of Sanshoudayu.

원작과 영화의 서사구조 비교 -아키나리의 『雨月物語』와 미조구치의《雨月物語》를 중심으로-

김경희 한국일본사상사학회 2012 일본사상 Vol.0 No.23

Commonly speaking, it 's not an easy thing for a movie which visualized a certain literary text to receive an exceeding evaluation than the original text itself. Though the audio-visual impression of video text is very strong, the original literary text can give deeper and louder resonance through invisible imagination and lingering echos. In that sense, it is very exceptional case that Ueda Akinari's novel, 『Ugetsu monogatari』(1776) gave a major influence not only to the Japanese modern writers but also to people of more generations and of wider ranks as transformed to the same named movie by Mizoguchi Kenj. As like Akinari's 『Ugetsu monogatari』 though based on Japanese classics and Chinese old stories, completely changed itself to a whole new work, Mizoguchi's movie, 《Ugetsu monogatari》(1953) also based on an original work, borrowing basic narratives, appropriately adding Mizoguchi-movie style artwork and historical characteristics, was re-born as a new work . This study examined that in the comparing viewpoint on narrative structures of original work and of the movie based on the work, dramatization of the original text to an audio-visual movie scenario had led to what kind of changes. Hopefully, through the comparison between narative structures of the original work and of the movie, and examining how Akinari's 『Ugetsu monogatari』had been interpreted , the original work could be understood better.

영화공간의 사유

임철희(Lim, Chul-Hee) 동국대학교 영상미디어센터 2018 씨네포럼 Vol.0 No.30

본고는 일본 전통건축공간의 반 고정성에 따르는 잠재적 개방성이 미조구치 겐지의 영화공간에 적용되는 방식을 고찰한다. 이것은 전통적 문화공간이 영화의 공간과 조응하는 방식을 감독의 미적 사유를 경유하여 살펴보는 작업이다. 일본 건축공간에는 전체와 부분의 관계가 가변적인 특성이 내재한다. 이로 인해 공간의 내부와 외부 그리고 중심과 주변의 관계는 유동적이 된다. 미조구치는 이러한 일본 건축공간의 경계적 특성을 영화적으로 잘 활용한 감독이다. 본고에서는 감독의 영화적 성숙기라고 할 수 있는 1950년대 후기작품을 위주로 이 점을 고찰하였다. 일본 건축공간의 가장 주요한 특성으로서의 잠재적 개방성은 미조구치 영화에서 서사의 흐름과 상황에 따라 인물의 정서를 제시하고 그의 현실을 환유하는 밑그림이 된다. 감독은 이러한 공간을 롱 테이크와 롱 쇼트, 딥 포커스 등과 같은 리얼리즘 기법으로 표현함으로써 인간의 삶을 냉철하게 조망했다. 여기에 카메라 움직임이 결부되면서 미조구치 영화공간의 내화면과 외화면의 관계는 유기적으로 된다. 이러한 관계성의 미적사유는 결과적으로 영화공간의 밀도를 충만하게 만든다. 건축공간의 구조적 특성을 활용한 미조구치 영화공간의 확장은 인간의 삶과 현실의 중요한 세부들을 섬세하게 포착할 수 있게 만든다. 그러므로 미조구치에게 건축공간의 영화적 재현은 삶의 공간을 영화의 공간 안으로 옮기는 일이다. 공간을 관찰하고 그것의 의미를 찾는 일은 인간에 대한 작가의 시선과 삶에 대한 태도가 투영되는 것이기도 하다. 이것은 결국 감독의 세계관이 표출되는 방식을 지시하는 것이며, 작가의 사유가 탁월한 미장센의 언어로 표현되는 것을 의미한다. This study examines how the latent openness of traditional Japanese architectural space is applied to Kenji Mizoguchi’s cinematic space. The Japanese architectural one has a characteristic which is that the whole and the part of the space are variable. Because of this, the relationship between the inside and the outside and the center and the periphery can be flexible. This study focuses on Mizoguchi’s 1950s films which can be considered as the cinematic maturity of the director. The latent openness as the nature of the Japanese space culture helps the narrative to depict the character’s reality and emotional state. The architectural space in his film is presented by realism film techniques such as long take, long shot and deep focus. This is intended to realistically express the value of life through the hardships and sacrifice of a character. Mizoguchi’s camera movement tends to combine the inside and the outside of the space. In addition, horizontal lines, vertical lines, and surfaces of the architectural space shown by the camera movement consequently create the graphic formality of the frame. Eventually, the latent openness of the architectural space expands the film space, which means that the off-screen becomes dynamic. Mizoguchi’s framing represents an aesthetic thought on how to construct the cinematic space from a consideration of how to utilize the architectural space as the place of film narrative. The world view of the director is expressed by his film technique and style. It includes an auteur’s cogitation about the language of mise-en-scène.

한・일 영화 비교 연구: 미조구치 겐지의 「수치의 거리」와임권택의 「티켓」을 중심으로

김희경 인문사회 21 2022 인문사회 21 Vol.13 No.2

본 연구는 미조구치 겐지 감독의 「수치의 거리」와 임권택 감독의 「티켓」을 비교 분석한 논문이다. 본 연구에서는 두 감독의 영상세계에서 접점을 이루고 있는 매춘여성들의 삶과 당대의 현실이 작품 속에서 어떻게 묘사되었는지 살펴보고 이를 구체적으로 분석해보았다. 본 연구는 기존의 일본 비평가들의 감상적 요소를 근거로 한 두 감독 작품의 유사성에 대한 평가에서 벗어나 차이점을 분석하는 데 그 목적을 두고 있다. 두 작품은 남성지배에 의해 억압받는 여성을 그린다는 점에서는 유사하지만, 「수치의 거리」와 달리 「티켓」은 여성들이 매매춘의 덫에 빠질 수밖에 없는 한국 사회의 구조적 문제에 가까이 접근하고 있다. 또한 「수치의 거리」가 여성들의 삶의 비극성이 개인의 운명이라고 말하는 것과 달리 「티켓」은 서사 속에 당대 현실이 깊숙이 개입해 들어오며 그것은 한국 사회의 그늘과 그 안에 갇힌 여성들의 비극성을 암시하는 기재로 활용되고 있다. 이처럼 두 작품의 차이점은 텍스트가 놓인 사회의 상황을 반영하는 점도 있겠지만, 여성을 바라보는 감독의 세계관 차이에서 비롯되었음을 알 수 있다. 아울러 본 연구는 과거 양국의 매매춘이라는 사회문제를 통해 여성들의 삶에 대한 젠더적인 접근과 두 나라의 대중예술이 지향하고 있는 사회적인 특성을 살필 수 있는 계기를 마련할 수 있으리라 기대한다.

『雪夫人絵図』の検閲台本について - 映画生成プロセスの再構成

김보경 중앙대학교 외국학연구소 2017 외국학연구 Vol.- No.42

Unlike Kenji Mizoguchi’s other works, which were produced in a later period, little academic attention has been paid to his 1950 film, Portrait of Madame Yuki. This paper examines a number of censorship documents from the Civil Information and Education (CIE) and The Motion Picture Code of Ethics Committee (EIRIN) in order to clarify the process used to create the film. In addition, by comparing the various versions of the scenarios in Portrait of Madame Yuki that were censored, this paper attempts to investigate the meaning of the changes in the context of the cultural climate of Japanese cinema around 1950.

'기’(氣)와 ‘리’(理)의 여행: 중국 고대 회화에서 들뢰즈의 영화철학까지

이찬웅 이화여자대학교 이화인문과학원 2011 탈경계인문학 Vol.4 No.3

This article traces the journey of two Chinese concepts, qi(氣) and li(理), from the brushstrokes of ancient Chinese paintings to Deleuze’s philosophy of the cinema. Interestingly, these abstract concepts take a concrete form when translated into French. As we can see through François Cheng’s translation, qi turns into “souffles vitaux” (vital breaths), and li turns into “ligne d’univers” (line of universe). Henri Maldiney, a French phenomenological aesthetician, employs these Chinese concepts in order to develop an “aesthetics of rhythms” that focuses on the process itself in the artistic creation rather than its result. Thus, Maldiney’s aesthetics values the Chinese brush and its dynamic movement in East Asian art. These concepts allowed Deleuze to reformulate two forms of the action-image, namely the “big form” and the “small form,” in assigning the two East Asian concepts to them. He used these concepts to explain the structure of Japanese films, namely those of Kurosawa and Mizoguchi.