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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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초록· 키워드
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The goal of this paper is to explore Eisenstein's theory in applying elusive symbolism in his works, First of all, I will present numerous instances of symbolism in his films, and then I will generalize them as either of subjective intuition or objective. Afterwards I will explore how much his individualism, artistic nature, and mentality as a citizen of the particular society he lived in had an effect on his works.
The symbolism that are contained in his films are also linked to the main themes of his films. Some examples of themes are: the espionage and massacre in Strike, the slaughtering and rebellion in Battleship Potemkin, the jubilation, butchery, and punishment in October, the discord and irony in General Line, death in Viva Mexico, and the conspiracy and vengeance found in Ivan the Terrible. These themes root themselves early on in the films and produce many varieties of symbolism, which in tum provides connectivity to the works as a whole. Also, the presentations of symbols as representing themes provide a tempo to film as a whole, This kind of tempo can be the expressive venting of the mentality of an individual in a particular society. We seek to find such inherent natures that are apparent in Eisenstein's works.
This dissertation is organized in the following fashion. First of all, we tried to grasp the symbolism and their subsequent meanings in his films, along with their significance from a theoretical viewpoint, and we applied the characteristics of "objects" with their cultural value that construct the symbolism in his films. Lastly, we explored a path of sociological methodology through film analysis while using the characteristics of such symbols and symbolic objects. In other words, this study focuses on the inquiry of theoretical evidence through samples of Eisenstein's films in addition to presenting film analysis methodology.
Our intentions in our artworks to understand and present societies of the past are stilI underdeveloped, for it involves two opposing sides: theory and reality. However, I believe that through film analysis this gap can easily be bridged. This is because the study of historical methodology can be helpful to our viewpoint on the subject before the analysis of it, and the symbolic organization can provide light to understanding the producer' s intention to mediate between the mentality of the people and the policies of the government. Also, "object" theory can be a tool for systematic film analysis, which reveals the distinct roles such theories play in film works.
The symbolism that are contained in his films are also linked to the main themes of his films. Some examples of themes are: the espionage and massacre in Strike, the slaughtering and rebellion in Battleship Potemkin, the jubilation, butchery, and punishment in October, the discord and irony in General Line, death in Viva Mexico, and the conspiracy and vengeance found in Ivan the Terrible. These themes root themselves early on in the films and produce many varieties of symbolism, which in tum provides connectivity to the works as a whole. Also, the presentations of symbols as representing themes provide a tempo to film as a whole, This kind of tempo can be the expressive venting of the mentality of an individual in a particular society. We seek to find such inherent natures that are apparent in Eisenstein's works.
This dissertation is organized in the following fashion. First of all, we tried to grasp the symbolism and their subsequent meanings in his films, along with their significance from a theoretical viewpoint, and we applied the characteristics of "objects" with their cultural value that construct the symbolism in his films. Lastly, we explored a path of sociological methodology through film analysis while using the characteristics of such symbols and symbolic objects. In other words, this study focuses on the inquiry of theoretical evidence through samples of Eisenstein's films in addition to presenting film analysis methodology.
Our intentions in our artworks to understand and present societies of the past are stilI underdeveloped, for it involves two opposing sides: theory and reality. However, I believe that through film analysis this gap can easily be bridged. This is because the study of historical methodology can be helpful to our viewpoint on the subject before the analysis of it, and the symbolic organization can provide light to understanding the producer' s intention to mediate between the mentality of the people and the policies of the government. Also, "object" theory can be a tool for systematic film analysis, which reveals the distinct roles such theories play in film works.
목차
Ⅰ. 서론
Ⅱ. 본론
Ⅲ. 결론
참고문헌
ABSTRACT
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