레오 까락스 영화의 사운드 영역 확장에 대한 연구

다국어 초록 (Multilingual Abstract)

Many people tend to think of sound as simply an accompaniment to the real basis of cinema, the moving images. But sound bristles with as many creative possibilities as editing. Many filmmakers have exploited the expansion of the range of the filmic sound through using creative ways. Leos Carax is the one of the key directors who has experiments filmic sounds in diverse ways. In his early three works, 〈Boy meets Girl〉(1984), 〈Mauvais Sang〉(1986), 〈Les Amants Du Pont-Neuf〉(1991), Carax uses with various interior monologues, off sounds, asynchronous sounds, silence to express unusual attitude to cinema and human being. It is very remarkable cinematic method which he used selection and combining of desired sound. Carax uses sounds that are recognizable to us but which come at carefully chosen moments. Through his control of what sounds we hear, what qualities these sounds have, and what relationships exist among those sounds and between sound and image, he has made this technique an important factor in controlling our attention throughout the films.

목차 (Table of Contents)

• Ⅰ. 머리말
• Ⅱ. 사운드의 창의적 사용의 역사
• Ⅲ. 퍼체론의 사운드 분류표
• Ⅳ. 복화술, 소통보다는 내면의 독백
• Ⅴ. 사운드의 완전한 통제-선택과 배제
• Ⅵ. 사운드에 의한 시공간의 확장-오프 사운드와 비동시 사운드
• Ⅶ. 음악적 리듬과 묵음의 힘
• Ⅷ. 맺음말
• 참고문헌
• Abstract

참고문헌 (Reference)

1 버나드 F.딕, "영화의 해부" 시각과 언어 1994

2 데이비드 보드웰, "영화예술" 아리랑 글방 1992

3 제임스 모나코, "영화, 어떻게 읽을 것인가" 혜서원 1993

4 Percheron,Daniel, "Sound in Cinema and its Relationship to Image and Diegesis" 1980

5 Stam,Robert, "Reflexivity In Film & Literature" Columbia University Press 9-, 1992

6 Weis,Elisabeth, "Film Sound" Columbia University Press 1985

7 Brody,Richard, "Everything is Cinema, The Working Life of Jean-Luc Godard" Halt Paperbook 2009