괴테 『파우스트』의 영화적 변환에 관한 연구 - 알렉산드르 소쿠로프 감독의 영화 <파우스트>를 중심으로 - = A Study on the Cinematic Transformation of Goethe’s 『Faust』 - Focusing on Alexander Sokurov’s movie < Faust > -

다국어 초록 (Multilingual Abstract)

< Faust > by Aleksandr Sokurov, the movie director is a movie version of Goethe’s 『Faust』. In the process of production of the movie, the theme of salvation in most literature is overthrown. The movie, while materializing Goethe’s middle age atmosphere in images, embodies the origin of vice internalized in human minds rather than religious salvation. The tragic elements of Goethe’s 『Faust』 come from metaphysical agony, exploration of truth and sensational desires. Such tragic elements lead to willful behavior and creation of Faust who searches for something ceaselessly. Goethe materializes enthusiasm for infinite creation and change in the unfolding of the drama. On the other hand, the tragic elements in Sokurov’s < Faust > are mental and material poverty and deficiency. The poverty and deficiency follow after already exterminated or destroyed solidness and identity rather than creation and change.
Aleksandr Sokurov’s ≪Faust≫is the final work of art in his four-part series on the power. Faust in his movie projects the desires of the protagonists of the four-part series (Lenin, Hitler and Hirohito). The movie is devoid of practice and effort for love and salvation and talks about the origin of human desire seducing devils rather than ceaselessly attempting to secure human salvation.
The movie expresses mythical and historical meaning of the shape of devils metaphorically in its prologue and epilogue. The dead body dissected by Faust and the body of a loan shark who made a contract with Faust (reminding us of Mephistopeles) are described with equal weight.
The movie symbolically describes the relationship between Faust and the loan shark as well as the relationship between Faust and Wagner and these protagonists are projected interactively. As Sokurov focuses on human bodies and deaths rather than criticism and discussion of political and historical ideologies, this work of art attempts to find the origin of desire for power in bodies and deaths rather than creation and change that can be found in the literature. In the process, while poverty and deficiency lead to sins and worries, they are connected not to the literature but to the evilness of humans. In other words, the devil found in the movie finishes his journey as a human trying to be God by starting from poverty and deficiency and then, punishing the devil. The origin of vice internalized in humans has come from poverty and deficiency. As Sokurov’s movie is finished open-ended, there may be various interpretations. However, this paper explores symbols in the work of art that overthrows themes and still, maintains the framework of characters in the literature while interpreting the points where creation and change in the literature are connected to solidness and identity in the movie.