예술적 사실주의에 근거한 몽타주 이론에 관한 논의

황철희(Hwang, Choal Hee) 한국디지털디자인협의회 2013 디지털디자인학연구 Vol.13 No.1

메시지 전달법의 일종인 몽타주의 영상문법은 첨단 영상시대를 맞이하여 기존의 속성이 변화, 발전되어 언제부터인가 매체에 따른 정의와 활용방법이 모호해지고 있다. 모으다. 조립하다 등의 건축용어에서 기원하여 영화에서의 편집, 사진예술에서의 변형에 이르기까지 진화되어, 영화를 사진으로 해석하거나 사진으로 영화의 이해가 가능한, 메타 언어적 기능 또한 발휘하고 있다. 그 이유는 영상매체의 상호간 표현적 차용은 다양한 부분에서 발견되지만 사진과 영화에서 유사성을 발견하는 빈도가 다른 매체 사이의 경우보다 높다는 것 때문일 것이다. 그러나 영화의 시간성과 대비되는 사진의 정지성에서 발생되는 비중 있는 정체성은 표현의 유사성을 극단적으로 부정하는 요소일 수는 있으나 시각적 인지라는 공통적 속성은 시간성과 정지성을 넘어서는 또 다른 메타성이라 볼 수 있다. 영화에서의 시네마적 몽타주는 시간적 배열을 통한 유기적인 조직체로 구성되는 몽타주의 세포들로 생성되지만 사진적 몽타주는 상호 관계적 협동체의 동시적 디스플레이로 몽타주를 일으킨다는 속성을 가지고 있어서, 마치 멀티미디어가 행하는 동시다발적 소통체계의 속성과 유사점을 발견할 수 있다. 본 논문은 현재 대중예술과 매체로서 가장 일반적인 사진 분야에서의 몽타주 개념을 시네마적 몽타주 조건과의 대입과정을 통해 정의하고, 그 조건에 대한 논의를 통해 신개념으로서의 포토몽타주를 제시하고 확장하는데 그 목적을 두고 있다. 결론적으로 의식적 몽타주는 수동적 몽타주로서 조직적으로 완성된 몽타주를 관객이 확인하는 과정으로 되풀이되며 무의식적 몽타주는 능동적이며 자연발생적인 몽타주로서 인식체계에 따른 가변성을 가지며 그것이 바로 사진적 몽타주의 정체성이라 할 수 있다. Since up-to-date imaging times visual grammar or montage that is a method of communication a type of message has changed and developed with existing properties. According to the media definitions and how to apply them have obscured in montage. Montage is deriving from an architecture term that is "gather and construct". It is evolving from film editing, varying from photography and analysing film to photography or vice versa, it has manifested to meta linguistic skills. The reason is more highly found from photography and film their similarities but reciprocal expressive borrowing in visual media may be found in various parts. Though being created from substantial identity between time-passing films and time-stopping photos can be extremely denying factor, they have a common property which is visual cognition. That is another meta factor beyond time-passing and time-stopping. Cinematic montage is created organic system through time sequence, but photographic montage has characters coincidentally one with mutual relationship like multimedia does simultaneously communicative system. This thesis is based on the purpose to define through substituting photographic montage to cinematic area, to discuss to the condition, to suggest photo montage as a new notion and to expand it. In conclusion as passive montage conscious montage from the audiences does systematically complete montage over again. Unconscious montage is active and spontaneous one that has perceiving systematical variability. Those can make photographic montage identity.

몽타주의 미학과 역사의식: 존 도스 패소스 소설의 서사구조에 대한 거시적 담론을 중심으로

이준영 ( Jun Young Lee ) 미국소설학회 2015 미국소설 Vol.22 No.1

Montage as an aesthetics of fragmentation, initiated by modern paintings of reflecting the modern disintegration of organic community, has been explored by a wide variety of art, including literature and cinematography. Especially by Russian film-makers such as S. Eisenstein, V. Pudovkin, and D. Vertov, the aesthetics of montage has been evolved into the montage of “linkage” and “collision,” then reaching its maturity in the montage of dialectics, although it was the American D. W. Griffith who initiated “the parallel montage” and then inspired the Russians. Literary writers, both European and American, also embodied the aesthetics of montage into their fictions, as was clearly shown in the novels of John Dos Passos. As “contemporary chronicles,” the narrative structures of Dos Passos``s major novels from Three Soldiers and Manhatttan Transfer to the U.S.A. trilogy creatively hire the aesthetics of montage in order to portray the modern historical landscapes of American capitalism during the early decades of the 20th century. By the architectural use of montage, the critically-acclaimed novels have successfully achieved their literary goal of delivering the historical consciousness of dialectical radicalism in order to expose the inhumane contradictions of modern American capitalism. Therefore, the main purpose of this essay is to clarify how much the montage itself, not only as an aesthetic technique but also as a way of thinking, contributes to their historical consciousness. Most of critical discourses about the aesthetics of montage seem to have been limited to the analyses of its formal and technical aspects. However, this essay proposes that the aesthetics of montage has in itself historicity, therefore prefiguring a certain historical consciousness of cairology, which defies the modern concept of chronological time. W. Benjamin’s montage as “dialectical image” brings up the constellation between the past and the present, inspiring the utopian solutions of history, while the montage of G. Deleuze as the image of time, not the image of movement, induces the interaction between the past and the present in accordance of “the whole.” The novels of Dos Passos also employ, in their narrative structures, the dialectical montages to portray the modern history of American capitalism with the image of time, consequently inspiring the utopian moment of the dialectical totality of history.

시적 은유로서 몽타주와 영화적 ‘무딘 의미’: <비몽>에 나타난 몽타주 분석을 통해

안숭범 문학과영상학회 2009 문학과영상 Vol.10 No.3

Barthes, when analyzing filmic images, distinguishes ‘le sens obvie’ from ‘le sens obtus.’ While ‘le sens obvie’ casts its anchor to the layer of customs and symbols, ‘le sens obtus’ is more of an instrumental concept that explains the initial process of signification. According to Barthes, the role of aesthetics of montage is condensed into manifesting ‘le sens obvie.’ Therefore, montage, which has been recognized as a system of filmic description, used to be conceptualized as a device which accumulates ‘le sens obvie.’ However this paper focuses on the fact that some montage of certain films play a role to separate images from deictic imitation and reappearance. In particular, the montages with aesthetic features led to interrogative reading through various potential signifié while proceeding to the absoluteness of signifiant itself which denies signifying. In light of this, Barthes’s ‘le sens obtus’, obtained from the analysis of Eisenstein’s montage on still photograph needs further modifications. The discussion so far emerged in detail from the form of montage in <Dream>. Practically, when observing the connection between individual shots, scenes, and sequence, it is found to have moments of coding and decoding. In the case of <Dream>, while filmic description is in progress, the audience frequently encounters the images which they cannot signify in a short period of time; in other words, signifiant itself as an image frequently earns a superior status. At this moment, aesthetic self-control of individual montages which constitutes parts of filmic text grows, and the audience experiences initiation of ‘le sens obtus.’ This paper distinguishes epiphor, whose main and substitutive ideas are connected by associative relation, from diaphor which contrives shocking connection between the two ideas, ruling out any similaries between them, and then prolongs this distinction as epiphor-linkage montage and diaphor-collision montage, respectively. In this context, ‘le sens obtus’ expressed in <Dream> was initiated in tandem with the arrival of the image that drove ‘pluralization of meanings’ in the collision montage. In short, this paper emphasizes that ‘le sens obtus’ which initiates from the form of collision montage, is related to the aesthetic effects of diaphor. Meaning debates on ‘le sens obtus’ are anticipated, since films which leave the meanings open to any interpretation, and poetry which encompasses aesthetics of ambiguity, offer various points of discussion. Barthes, when analyzing filmic images, distinguishes ‘le sens obvie’ from ‘le sens obtus.’ While ‘le sens obvie’ casts its anchor to the layer of customs and symbols, ‘le sens obtus’ is more of an instrumental concept that explains the initial process of signification. According to Barthes, the role of aesthetics of montage is condensed into manifesting ‘le sens obvie.’ Therefore, montage, which has been recognized as a system of filmic description, used to be conceptualized as a device which accumulates ‘le sens obvie.’ However this paper focuses on the fact that some montage of certain films play a role to separate images from deictic imitation and reappearance. In particular, the montages with aesthetic features led to interrogative reading through various potential signifié while proceeding to the absoluteness of signifiant itself which denies signifying. In light of this, Barthes’s ‘le sens obtus’, obtained from the analysis of Eisenstein’s montage on still photograph needs further modifications. The discussion so far emerged in detail from the form of montage in <Dream>. Practically, when observing the connection between individual shots, scenes, and sequence, it is found to have moments of coding and decoding. In the case of <Dream>, while filmic description is in progress, the audience frequently encounters the images which they cannot signify in a short period of time; in other words, signifiant itself as an image frequently earns a superior status. At this moment, aesthetic self-control of individual montages which constitutes parts of filmic text grows, and the audience experiences initiation of ‘le sens obtus.’ This paper distinguishes epiphor, whose main and substitutive ideas are connected by associative relation, from diaphor which contrives shocking connection between the two ideas, ruling out any similaries between them, and then prolongs this distinction as epiphor-linkage montage and diaphor-collision montage, respectively. In this context, ‘le sens obtus’ expressed in <Dream> was initiated in tandem with the arrival of the image that drove ‘pluralization of meanings’ in the collision montage. In short, this paper emphasizes that ‘le sens obtus’ which initiates from the form of collision montage, is related to the aesthetic effects of diaphor. Meaning debates on ‘le sens obtus’ are anticipated, since films which leave the meanings open to any interpretation, and poetry which encompasses aesthetics of ambiguity, offer various points of discussion.

포스트모던 사회와 증폭의 몽타주: 제18대 대한민국 대통령 국정홍보영상 사례 연구

남종대 문학과영상학회 2014 문학과영상 Vol.15 No.2

This paper is to focus on tracing a variant of montage theory in a post-modern era since the term ‘montage’ does not have a fixed universal definition but is instead defined by culture and ideology, which shifts constantly depending on the era and region. A feature of living in a post-modern society is reconsidering the meaning of montage differently from its early use. Therefore, the early uses of the term montage were formed in a Soviet society whereby there was an ideological conflict between the nation and individuals. Since, it had to be revised as society faced ideological variation and conflict. A montage has been regarded as a tool to create a meaning in terms of dialectic mechanism, but unlike classical montage theory, post-modern montage theory does not seem to be restricted from it and pays attention to an amplification and the discovery of a meaning of an individual image rather than creating meanings. The images which are analysed in this paper can be suitable examples to explain about it. As a result of analysis of governmental records, we could find that P.I images (President Identification) for President Park Chung-hee which were produced in the 1970s had a main purpose to deliver political ideologies to the public to rule and control them, and we could also find it out as looking through the images that the images attempted to create meanings which made the public believe that the president Park Chung-hee was a fascinating leader who could guide the public well. P.I images for him strictly followed a dialectic mechanism and pursue a chronicle editing style which based on Soviet montage theory. So, consequently, we can perceive that the images for President Park Chung-hee made in the 70s tried not to find but to produce meanings as using dialectic conflicts between images. On the other hands, P.I images for President Park Geun-Hye which can represent to images of the post-modern era in this paper showed clearly different styles of editing from the one for President Park Chung-hee. A lot of images for President Park Geun-Hye tended to show chaotic image orders and the images were unstable and ignoring continuity. It seemed to focus on emphasizing an individual image to make the public find a meaning. So, we can assume that the reason of this phenomenon in a style of montage is because of a different social discourse between two periods and different philosophical ideas. The assumptions which we can have after looking into case studies of P.I images can guide us to the conclusion that in a post-modern era, unlike modern era, when we perceive an image sequence in a montage, we can sense a meaning from our memories located in the unconscious rather than producing a meaning from our conscious. Furthermore, when we see the image, we can feel not an entire meaning but a fragment of it since the world has been broken in a piece in an internet based world rather than converged. Nowadays a montage is no longer regarded as a simple tool for meaning making but a way of sensing means. In short, montage in post-modern era can let us sense a meaning of the world in the middle of a place which is belonged not only a world of perception but also a world of a sense. A montage can be used to amplify our individual memories within our unconscious and evoke instant memories when sensing through our unconscious relying on inter-textuality between ideas and images.

현대 영화에 적용된 세르게이 에이젠슈테인의 수직적 몽타주와 그에 따른 사운드 몽타주로의 이행(移行)에 관한 연구

박지훈(Park Ji Hoon) 한국영화학회 2008 영화연구 Vol.0 No.36

Since the emergent of sound films, Sergei Eisenstein who was interested in using auditory elements with visual elements analyzed the forms and cases that visual and auditory elements were combined with the aspect of collision. It was called 'vertical montage.'During the early years of his works, Eisenstein actively developed montage theory and put the basic principle of collision montage on naked counterpoint. However, it was changed to harmonious counterpoint for the next 30 to 40 years. Eisenstein saw visual and auditory elements could be holistically harmonized through accord or disaccord of screen or sound beat. His perpendicular montage developed with technology of sound effects including film scores. Its name was replaced as 'sound montage'and more progressed and used in diverse forms. In modem films, wild track or various sound effects are expanded used more than films in the past. Sound montage has the same principle concept with perpendicular montage in aspect of creating effects through harmonious combination with visual and audio. However, its function of use and applied area are more diverse and deep. Based on this background, I would like to understand the concept of Eisenstein's perpendicular montage which analyzed and harmony of visual and audio with counterpoint. Then, I would like to apply each concept into modem films and analyze the principle concept of perpendicular montage reflected on modem films which is escaped from the frame of classic or modem. In addition, I would like to analyze about the development motif of sound montage naturally emerged with the development of technology, and suggest various cases that are applied in films. The purpose of this analysis is to get verified data to predict the new form of montage technique applied in the future.

장경린 시에 나타난 시·공간 몽타주

이기주(Lee, Ki-Ju) 한국시학회 2015 한국시학연구 Vol.- No.44

이 논문은 장경린의 시에 나타난 시·공간의 몽타주 기법에 대해 알아보고, 시인의 역사 인식과 현실 인식을 규명하기 위한 연구이다. 장경린 시에 대한 기존 논의가 산업화의 비인간화에 따른 소외감의 표출이라는 결론으로 나타나는 이유는 장경린 시가 당대의 현실을 그대로 반영하고자 하는 의도가 분명하게 드러나고 있기 때문이다. 본 논문은 장경린 시에 나타난 시간과 공간의 몽타주가 역사적 사건과 1980년대의 정치·사회적 현실을 어떻게 파악하고 있는지 분석해 보았다. 이러한 논의는 사회적 전위시로서의 장경린 시가 가진 특이성을 파악하고 사회적 전위시의 주된 목표인 ‘세계의 재구성’을 그의 시가 어떻게 수행하는지 알아보기 위한 것이다. 본 논문은 먼저 몽타주의 한 방법으로서의 앙장브망(Enjambment)의 역할을 통해 장경린 시의 문법적 특성과 몽타주와의 연계성을 알아보았다. 또한 로버트 험프리의 시간 몽타주(Time Montage)와 공간 몽타주(Space Montage) 기법을 참고하여 장경린의 시의 역사 인식과 현실 인식이 일상성의 아이러니를 드러낸다는 사실을 파악하고자 하였다. 시간 몽타주와 공간 몽타주 기법은 역사적 사건과 일상적 사건의 급속한 충돌을 통해 세계의 재구성을 꾀하는 방식이며, 장경린은 시간·공간의 몽타주로 아이러니를 발생시키고, 그 아이러니로 자신이 살고 있는 시대와 그 시대를 살아가는 자기 자신을 비판하고 있다. 이러한 자기비판은 현대사회에서 소외된 자아로 나타난다. 이처럼 장경린의 시가 갖는 특이점은 역사적 사건과 일상적 사건의 병치를 통해 나타나는 모순성이 그대로 역사와 일상을 동시에 비판하고 그 시대에 살고 있는 자신까지 비판한다는 점이다. This writing tries to discover ‘Time Montage’ and ‘Space Montage’ techniques which are appeared in Jang, Kyung-Rin"s poetry. Through this, it also attempts to reveal the poet"s perception of history and reality. The reason why previous studies on Jang, Kyung-Rin"s poetry arrived at a conclusion that it expresses alienation caused by dehumanization of industrialization is that its intention to reflect the reality of the time is obviously presented in his poetry. This study tries to analyze how ‘Time Montage’ and ‘Space Montage’ are describing political․social realities in 1980"s and historical events in Jang, Kyung-Rin"s poetry. This discussion is for figuring out the particularity of Jang, Kyung-Rin"s poetry as the avant -garde and how his poetry is performing ‘reconstruction of the world’ which is the main purpose of the avant-garde poetry. To begin with, this writing looks into a connection between grammatical features of Jang, Kyung-Rin"s poetry and ‘Montage’ techniques through the role of ‘Enjambment’ as one of ‘Montage’ techniques. Also on the basis of ‘Time Montage’ and ‘Space Montage’ techniques of ‘Robert Humphrey’, this writing tries to discover the fact that the perception of history and reality of Jang, Kyung-Rin"s poetry reveals the ‘Irony’ of everyday life. ‘Time Montage’ and ‘Space Montage’ techniques are the ways of reconstructing the world by rapid collision between historical events and everyday routines. Jang, Kyung-Rin creates irony with ‘Time·Space Montage’ techniques in his works and he criticize not only the era he lives in but also himself who lives in that era. This self-criticism is presented as an alienated ego in modern society. The particularity of Jang, Kyung-Rin"s poetry is that the irony is resulted from the juxtaposition of historical events and everyday routines and this irony is used to criticize history and everyday life at the same time and also criticize himself who lives in the era.

백색소음 중심의 몽타주 효과 연구 - 작품 <누구지> 제작과정을 중심으로 -

정우용 한국기초조형학회 2021 기초조형학연구 Vol.22 No.1

The purpose of this study is to find out the positive effects of white noise in montage production. In order to investigate the effects of using white noise as a montage auditory content, the researchers’ work <Who Are You?> was selected to be the subject of analysis. In order to find out the effect that can be obtained when white noise is used as a montage's auditory content, the researcher's work <Who are you?> is the subject of analysis. When the method of research involves white noise, which is irrelevant to the narrative of the work, in the montage. By examining the characteristics of the image and the montage effect caused by white noise, we confirm the possibility of using white noise as a montage. In order to approach the concrete performance of white noise that appears in the montage, we analyze the contents of the content composition and the effect of the montage by division by shot. According to the analysis, white noise in the montage of <Who are you?> showed the following possibilities.. First, it is possible to reinforce the completeness of the auditory mise-en-scene, which is difficult to satisfy with only the spot sound. Second, it can contribute to the universality and openness that can actively intervene in the emotions of the audience. Third, it could be used as the dominant sound of the overall image while maintaining its own tone independent of the field sound and music. According to the results of the study, white noise is an auditory content that can be used to reinforce the mise-en-scene of an image through a montage. It is a universal, open image that can actively stimulate the emotions of the audience, and as a dominant sound that is absolutely involved in the overall image. You can see that the role is possible. Based on this fact, there will be a need to discuss white noise as an auditory content that can positively participate in the expansion of the concept of montage. If the montage experiment using white noise continues, it is expected that it will be able to amplify the artist's intention and contribute to the free interpretation of the audience based on the universality applicable to a large number of unspecified humans. 본 연구는 몽타주 제작에 있어서 백색소음의 긍정적 효과를 알아보는 것을 목적으로 한다. 백색소음을몽타주의 청각콘텐츠로 사용하였을 때 얻을 수 있는 효과를 알아보기 위하여 연구자의 작품 <누구지>를 분석대상으로 한다. 연구방법으로 작품의 내러티브와는 무관한 백색소음을 몽타주에 개입시켰을 때. 백색소음으로 인해 나타나는 영상의 특징과 몽타주 효과를 살펴봄으로써, 백색소음의 몽타주활용 가능성을 확인한다. 몽타주에서 나타나는 백색소음의 구체적 성과에 접근하기 위해 샷별 구분에의한 콘텐츠 구성의 내용과 몽타주 효과를 분석한다. 분석에 의하면, <누구지>의 몽타주에서 백색소음은 다음과 같은 활용 가능성을 보여주었다. 첫째, 현장음만으로는 충족하기 어려운 청각 미장센의완성도를 강화할 수 있다. 둘째, 관객의 감정에 적극적으로 개입할 수 있는 보편성과 개방성에 기여할수 있다. 셋째, 현장음, 음악과는 별개로 독자적인 톤을 유지하며 영상전반의 지배음으로써 활용 가능하였다. 연구 결과에 의하면, 백색소음이 몽타주를 통해 영상의 미장센을 강화하는데 쓰여질 수 있는청각콘텐츠로써 관객의 감정을 적극적으로 자극할 수 있는 보편성 있는 개방적 이미지이며, 영상전반에 절대적으로 관여하는 지배음으로써의 역할이 가능하다는 것을 알 수 있다. 이러한 사실에 기초하여백색소음이 몽타주의 개념확장에 긍정적으로 관여할 수 있는 청각콘텐츠로서 논의해 나갈 필요성이있을 것이다. 백색소음을 활용한 몽타주 실험을 지속한다면, 불특정 다수의 인간들에게 적용 가능한보편성에 근거하여 작가의 의도를 증폭시키고 관객의 자유로운 해석에 기여할 수 있을 것으로 기대한다.

연상 몽타주에서 나타난 수직적 몽타주 분석

임운주(Woon-Joo Lim) 한국콘텐츠학회 2013 한국콘텐츠학회논문지 Vol.13 No.1

이 연구는 애니메이션 〈파프리카〉 작품을 통하여 연상 몽타주에서 나타나는 수직적 몽타주에 관한 해석을 시도하고 있다. 몽타주는 프도프킨, 에이젠슈테인, 자끄 오몽 등 현재까지 지속적으로 연구되어지고 있다. 하지만 기존의 연구들은 몽타주를 시각적 이미지에 보다 더 비중을 두었다. 영상은 시각과 청각으로 이루어져 있고, 이 두 관계는 서로 상호 작용을 하여 효과를 극대화시키는 요소로 작용한다고 볼 수 있다. 이에 앞서 연구한 시각 영상을 분석한 연상 몽타주에 기초하여 청각적 요소를 분석한다면, 좀 더 심층적으로 접근할 수 있을 것이다. 그러므로 이 연구에서 수직적 몽타주는 논리적 몽타주와 충돌 몽타주에서 어떻게 사용되었으며 어떠한 의미를 생성하고 있는지 분석하고자 하는 것이다. 분석 결과, 수직적 몽타주는 논리적 몽타주와 충돌 몽타주에서 전체적으로는 자연적인 일치로 시각 영상에 대한 보완을 하고 선율적 일치로 전체적인 정서를 반영하게 하는 연결 관계를 보였다. 또한 시간과 장소, 그리고 명확하지 않은 공간들에서 운율적 일치를 나타낸다면, 그 요소들이 서로 관계적으로 이어지게 하는 연속성을 나타낸다. 하지만 그 연속성을 끊어내는 역할, 즉 부분적으로 관객을 몰입하게 하는 음조적 요소가 공간과 시간을 뒤집거나 변화할 때 적절하게 사용된다면, 효과를 극대화 시키고 사건의 전환점을 나타내며 등장인물에 대한 집중도를 높이는 것으로 분석되었다. This study attempts interpretation of vertical montage expressed in assoziation montage focused on animation, Paprika. Montage has been continuously studied by Pudovkin, Eisenstein, Jacques Aumont and others till now. However, existing studies focused on the visual image of montage. Image is made of visual element and aural element. These two interact with each other and maximize the effect. It is believed that the study subject can be approached in more depth, if aural elements would be analyzed based on the assoziation montage which analyzed visual image in previous studies. Accordingly, this study explores and analyzes how vertical montage has been used in logical montage and optical conflict montage and what meanings they generated. The analysis results suggested followings. In logical montage and optical conflict montage, vertical montage complemented visual image by natural concurrence as a whole. Vertical montage also showed linked relationship, which reflects overall emotion by melodious concurrence. In addition, when there was melodious concurrence at certain time, place or unclear space, the elements showed continuity which made them link with relationship. However, when the role that cuts that continuity, in other words, when the tonal element, which let audience partially immerse, would be properly used when the space and time would change or get reversed, the effect was maximized. It also expressed a turning point of an event and enhanced the concentration of audience on the characters.

몽타주의 사운드 역할 연구 - <블루 벨벳>을 중심으로 -

정우용 한국기초조형학회 2019 기초조형학연구 Vol.20 No.5

This study suggests that editing using the discrepancies in sound in films is an efficient way to express rationality and complex psychology in human being that can compose rich narrative. The montage research in the early 20th century mainly focused on the production and research of montage works based on the combination of visual images, but it is worthy to note that the representative directors of montages including Eisenstein suggested the possibility of expanding the visual expression area using sound. The fact that early montage researchers recognized auditory images as important contents for constructing montages and regarded them as the subjects of research shows that the expression of montages by sound forms as an important axis of montage art. In order to verify the non-matching effect using sound montage, highly relevant papers were reviewed by searching 'image', 'montage' and 'sound montage' among thesis and academic papers. Through the peer review of the representative sound montage scenes of Stanley Kubrick's films, <A Clockwork Orange > and <2001:A Space Odyssey>, the montage technique caused by the inconsistency of sound turned out to be largely in the framework of the theory established by Soviet montage researchers, which showed that the existing sound montage theory research played a meaningful role. Based on these perceptions, the film's <Blue Velvet> scene was divided into shots to examine the specific montage effects, and the similarities and characteristics of the <Kuleshov effect> and <Blue Velvet> ‘lip sync’ scenes were analyzed. Thesis findings suggest the possibility of expanded expression of sound montage by sound mismatch, which can maximize the director's expressive power and simultaneously stimulate the audience's imagination indefinitely. 본 연구는 영화에서 사운드의 불일치를 활용한 몽타주가 내러티브를 한층 풍성하게 구성할 수 있는 합리성과인간내면의 복잡다단한 심리를 표현하기 위한 효율적 방법이라는 관점을 제시한다. 20세기 초반의 몽타주연구는 시각이미지들의 조합에 의한 몽타주 작품제작과 연구가 주를 이루었지만, 에이젠슈타인을 비롯한 몽타주의대표적 감독들이 사운드를 활용한 표현영역의 확장 가능성을 이론으로 제시하였다는 사실은 시사하는 바가 크다. 초창기 몽타주 연구가들이 청각이미지를 몽타주 구성을 위한 중요한 콘텐츠로 인식하고 연구대상으로 생각하였던 사실은 사운드에 의한 몽타주 표현이 몽타주 예술의 중요한 축을 형성하고 있다는 사실을 알 수 있다. 사운드몽타주를 활용한 비일치 효과의 검증을 위해 학위 논문과 학회 논문 중 ‘영상’, ‘몽타주’, ‘사운드몽타주’ 로 검색한 연관성 높은 논문을 참고하였다. 스탠리 큐브릭 감독의 영화 <시계태엽 오렌지>, <2001년의 우주여행>의 대표적인 사운드몽타주 씬의 고찰을 통해 사운드의 불일치에 의한 몽타주 기법이 현대에 이르기까지 소비에트 몽타주 연구가들이 정립한 이론의 틀에서 크게 벗어나지 않으며, 기존의 사운드몽타주 이론연구가 의미있는 역할을 수행하고 있음을 확인할 수 있었다. 이러한 인식을 바탕으로 영화 <블루 벨벳>의 ‘립 싱크’ 씬을 쇼트별로 나누어 구체적인 몽타주 효과를 살펴보고 <쿨레쇼프 효과>와 <블루 벨벳>의 립싱크 씬이 갖는 유사점과특징을 분석하였다. 사운드 불일치에 의한 효과적인 몽타주 씬이 감독의 표현력을 극대화함과 동시에 관객의 상상력을 무한대로 자극할 수 있다는 사실을 실증적으로 증명함으로써 사운드몽타주의 확장된 표현 가능성을 제시한다.

이승훈 시에 나타난 몽타주의 변화 양상

이기주 ( Ki-ju Lee ) 한국현대문예비평학회 2016 한국문예비평연구 Vol.- No.50

본 연구는 이승훈의 초기시와 중기시가 각각 대상 소멸과 자아 소멸의 두 양상을 보이고 있음을 밝히고, 그러한 양상이 각기 ‘담론 몽타주’와 ‘대응 몽타주’의 두 가지 방식으로 작동함을 분석함으로써 이승훈의 시세계가 모더니즘에서 포스트모더니즘적인 양상으로 변화하고 있음을 밝히는 데 주목하고자 하였다. 이승훈은 인식론적 회의를 바탕으로 자아와 대상 간의 관계를 포착함으로써 자기 자신의 내면을 탐구하는 데 주력한 시인이다. 또한 그의 시가 가진 특이성은 무엇보다도 몽타주 기법을 통해 자연적 세계의 유기성과 인과성을 해체함으로써 기존의 예술이 가진 문법과 달리 새로운 언어 의식을 드러내었다는 데에 있다. 초기시와 중기시에서 드러나는 이승훈 시세계의 가장 큰 변화 중 하나는 내면세계를 탐구하는 방식이 달라졌다는 점이며, 이 방식은 몽타주의 변천 양상으로 나타난다. 뱅상 아미엘(Vincent Amiel)의 몽타주미학은 크게 ‘서사 몽타주’, ‘담론 몽타주’, ‘대응 몽타주’의 세 가지 방식으로 나뉜다. 이 중에서도 ‘담론 몽타주’는 이승훈의 초기시에, ‘대응 몽타주’는 중기시에 각각 대응하고 있으며 ‘대응 몽타주’의 양상이 후기시에서도 지속되고 있다. ‘담론 몽타주’는 충돌과 갈등을 통해 의미의 관계를 만드는 방식이며, ‘대응 몽타주’는 비연대적이고 비선형적인 시간을 통해 일시적인 정서를 생겨나게끔 하는 미적 방식이다. 이승훈의 초기시는 ‘나’와 ‘나’의 바깥에 있는 것의 갈등과 충돌이라는 대립적인 방식을 통해 존재론으로 비극적인 정서를 생겨나게 한다. 중기 이후 이승훈의 시는 ‘이미지들의 놓임’이라는 ‘대응 몽타주’의 방식을 충실히 따른다. 이것은 불연속적인 연속이라는 ‘대응 몽타주’의 고유한 리듬을 따르는 방식이며, 독자는 주로 암시를 통해 텍스트를 이해할 수 있게 된다. 이처럼 이승훈은 ‘대응 몽타주’와 같은 기법을 통해 의미론적인 연결 고리가 끊어지게끔 하여 기존의 세계가 지닌 이항대립체계나 위계질서, 고정관념을 해체하려고 하였던 것이다. 이승훈의 후기시에서는 이러한 의미 해체의 양상이 불교적 사상에 의해 나타나는데, 중기시와 마찬가지로 ‘대응 몽타주’의 방식으로 드러나고 있다. This research focuses on disclosing that Lee Seung Hun’s world of poetry has changed from modernism to a postmodernism aspect by revealing that his earlier poems and the poems in his middle years are each showing aspects with regards to subject extinction and the dissolution of the self, respectively; and that each of these aspects act in two different ways as a ‘discourse montage’ and a ‘correspondence montage’. Having the epistemological meeting as a background, Lee Seung Hun is a poet who mainly focused on exploring his inner self by picking up the relationship between the self and the subject. In addition, the uniqueness of his poem lies in the fact that he is revealing a new language consciousness different from the grammar which existing art possesses, by disassembling nature’s organic characteristic and causality through the montage technique. One of the biggest changes in Lee Seung Hun’s world of poetry revealed in his earlier poems and poems in his middle years is the change in the inner self approach which is presented in the changed aspect of the montage. Vincent Amiel’s montage aesthetics falls into three main types namely, ‘narrative montage’, ‘discourse montage’, and ‘correspondence montage’. From the three aforementioned types, ‘discourse montage’ responds to Lee Seung Hun’s earlier poems while ‘corresponding montage’ responds to poems in his middle years. Also, ``corresponding montage`` continues to appear in the late period of his poems. ‘Discourse montage’ is a method wherein a relationship with meaning is made through clashes and conflicts while ‘correspondence montage’ is an aesthetical method which creates a temporary emotion through a non-chronological and nonlinear time. Lee Seung Hun’s earlier days creates tragic emotion through a confrontational method such as conflicts and clashes between ‘me’ and the things outside ‘me’. The middle years of Lee Seung Hun faithfully follows the method of ‘corresponding montage’ called ‘the laying of images’. This is a method wherein we follow the inherent rhythm of the continuously discontinuous correspondence montage and the reader is to understand the texts through hints. Lee Seung Hun uses methods such as ‘correspondence montage’ to disconnect the semantic link which would in effect dismantle the binary oppositions, hierarchy, and stereotypes held by the existing world. The aspect of ‘deconstructing the meaning’ based on buddhistic thoughts appears in Lee Seung Hun``s latest poems and this is represented by ‘corresponding montage’ in the same way as his middle years.