허진호 감독 멜로드라마의 탈관습적 연출 연구 : <8월의 크리스마스>와 <봄날은 간다>를 중심으로 = A Study on the Unconventional Direction of Director Jin-Ho Huh's Melodrama : Focusing on <Christmas in August> and <One Fine Spring Day>

다국어 초록 (Multilingual Abstract)

This study analyzed the unconventional direction of the melodrama appearing through director Jin-Ho Huh's work, <Christmas in August> and <One Fine Spring Day>. Director Jin-Ho Huh is not only showing moderated aesthetics through narration and style while not being bound to traditional customs shown in established melodramas but also trying for a direction that differs from existing melodramas through those which contain common, everyday lives.
In a word, existing melodramas have narratives that produce accidental and fatal incidents and conflicts as factors for inducing overdrawn emotions. Following, in order to convey a narrative in extreme circumstances more perfectly, melodramas use mise-en scenes which audiences can inhale more closely. It is making dramatical mise-en scenes effective devices for maximizing empathies. Additionally, all these factors have been accepted as customs regulating traditional melodramas.
However, director Jin-Ho Huh leads the sentiments of the main characters in ordinary places and restrains it internally rather than showing it excessively; excluding certain fatal incidents and conflicts that stimulate tear ducts. Eventually, the most fitting explanation of the specialty of his films will be the expression of restrain, even if it is a bit of a cliche.
For example, while most melodramas stimulate tears at the determinative moment after leading the emotions of the audience from the beginning--proceeding as a greatly-fixed plot which is meeting, separation, and the reconfirmation of love after overcoming trials during the process--the audience in director Jin-Ho Hug's melodramas has difficulty experiencing catharsis through the process in which the desires of the characters in the films are broken down. This is because certain tensions or excessive emotions are not shown on the surface while hiding tears through the restrain of emotions when excluding emotional violence and shedding tears. Like the above, director Jin-Ho Huh is opening the possibilities of Korean melodramas with his own delicate direction skills while representing unusual styles with distinguished sensitivity which cannot be commonly seen in previous melodramas; even though he is depicting love and separation which are traditional topics of melodramas.

목차 (Table of Contents)

• 제Ⅰ장 서론 = 1
• 1. 문제제기 = 1
• 2. 연구사 검토 및 연구목적 = 6
• 3. 연구대상과 연구방법 = 10
• 제Ⅱ장 멜로드라마의 이론적 논의 = 14
• 1.장르의 사회적 반영 = 14
• 2. 멜로드라마의 관습적 특성: 감정의 과잉 = 16
• 3. 감정의 과잉 요소 = 20
• 1) 내러티브의 우연성과 운명론적 세계관 = 20
• 2) 감정을 유발하는 극적인 미장센 = 22
• 제Ⅲ장 <8월의 크리스마스>, <봄날은 간다> 작품분석 : 직접적인 감정표현을 배제한 절제의 수사 = 26
• 1. 서사(narrative)에서의 절제 = 26
• 1) 내면적, 분신적 인물의 등장 = 27
• 2) 주제의 함축된 이미지를 그리는 상징적 매개체 = 39
• 3) 삶과 추억을 증명하는 간접표현 = 47
• 2. 시각적 스타일에서의 절제 = 53
• 1) 정적인 풍경화 스타일 구축 = 54
• 2) 감정표출을 차단하는 매개물 = 61
• 3) 계절이미지로 압축된 정서적 희로애락 = 67
• 3. 일상성을 통한 절제 = 74
• 제Ⅳ장 결론 = 82
• 참고문헌 = 85
• ABSTRACT = 91