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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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The purpose of this study is to analyse the mannerism in the French Director Jean-Pierre Melville's crime films, and to examine the possibility of applying the concept of mannerism to future research on contemporary stylists-directors including those in Korea.
The term 'mannerism' comes from the 16th century Italian artists at the end of Renaissance who concentrated their efforts on artificial forms and techniques rather than on subjects and themes. Research on mannerism in the movies started only in the middle of the 1980s by critics of Cabers du cinema like Serge Daney and Alain Bergala, who took a lot of interest in Melville's works. In fact, his films are related to the mannerism by three aspects : secret memories of the past, simplicity of the narrative as well as the exaggerated style, and anamorphosis of the classic work that creates new rhythm. Howard Hawks' Rio Bravo represents Melville's prototype of past image, and it contains what would be stressed eventually in Melville's works. In terms of narrative, Melville's crime films repeat always the same themes : heroic solidarity between males and dignity of professional gangsters. As of the form, his principal characters show signs of homosexual replication and mirror game by their identical appearance (especially their hat) and gestures (looking at the mirror). The inane rush towards death is another element that characterizes Melville's gangsters. But Melville doesn't just simply imitate Hawks. He practices anamorphosis and deformation as mannerist painters did, which creates his own style. This can be found in two aspects : resemblance between gang and policeman and production of the subjective rhythm by silence. The creation of new time by ever-lasting silence is striking in the opening sequences as in crime sequences.
If we define mannerism as work of signature on what the greatest modernists could discern as frontiers, Melville represents the exemplary mannerist in the art of movie. His case indicates that, in contemporary situation where new themes are exhausted, the frame of mannerism could function as a conceptual tool that could support movie as a still meaningful artistic medium. The concept of mannerism might be a useful framework to understand, study and reevaluate contemporary film makers and their films showing confusion of styles and forms.
The term 'mannerism' comes from the 16th century Italian artists at the end of Renaissance who concentrated their efforts on artificial forms and techniques rather than on subjects and themes. Research on mannerism in the movies started only in the middle of the 1980s by critics of Cabers du cinema like Serge Daney and Alain Bergala, who took a lot of interest in Melville's works. In fact, his films are related to the mannerism by three aspects : secret memories of the past, simplicity of the narrative as well as the exaggerated style, and anamorphosis of the classic work that creates new rhythm. Howard Hawks' Rio Bravo represents Melville's prototype of past image, and it contains what would be stressed eventually in Melville's works. In terms of narrative, Melville's crime films repeat always the same themes : heroic solidarity between males and dignity of professional gangsters. As of the form, his principal characters show signs of homosexual replication and mirror game by their identical appearance (especially their hat) and gestures (looking at the mirror). The inane rush towards death is another element that characterizes Melville's gangsters. But Melville doesn't just simply imitate Hawks. He practices anamorphosis and deformation as mannerist painters did, which creates his own style. This can be found in two aspects : resemblance between gang and policeman and production of the subjective rhythm by silence. The creation of new time by ever-lasting silence is striking in the opening sequences as in crime sequences.
If we define mannerism as work of signature on what the greatest modernists could discern as frontiers, Melville represents the exemplary mannerist in the art of movie. His case indicates that, in contemporary situation where new themes are exhausted, the frame of mannerism could function as a conceptual tool that could support movie as a still meaningful artistic medium. The concept of mannerism might be a useful framework to understand, study and reevaluate contemporary film makers and their films showing confusion of styles and forms.
목차
1. 들어가며
2. 매너리즘 : 미술에서 영화로
3. 〈리오 브라보〉의 기억과 남성성의 복제
4. 변형의 미(美) : 주관적 리듬의 구축
5. 나가며
참고 문헌
Abstract
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