지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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This paper examines The Servant(1963), the first collaborative film between Joseph Losey and Harold Pinter, focusing on a series of plays which structure the film. The collaboration changed both Losey’s and Pinter’s artistic reputation and world. The Servant proved to be the film that brought Losey the international reputation as one of the great masters of naturalism in the cinema and Pinter the chance to seek for a line of flight from the oedipal impasse in writing his plays. Especially Pinter’s screen-play as collaborator not as author(master) with Losey leads him to find not a competitive Oedipal politics but a micropolitics, a politics of desire.
The central concern of The Servant can be regarded as the power struggle between the master and the servant. But the film goes beyond the politics of class and becomes a naturalistic film of impulse-images which present the originary world that exists and operates in the depths of the real Victorian environment of Tony’s house. The impulse-images of The Servant are generated by a series of violent plays and skillful mirror plays, such as doubling or tripling, distorting, fragmenting, magnifying, diminishing images, especially on the ensnaring convex mirror. Plays in the film gradually become violent male homosexual games from which Tony and Barrett cannot exit. Deleuze indicates that we can look for a salvation in the women in The Servant who are outside the originary world of men. By appropriating Deleuze’s seeking for a line of flight in the women, this paper argues that Susan and Vera always remain inside the originary world instead of its outside, although they are forced to disappear from the world after playing the roles of mediators for men’s game. That is, they will explode the world from its inside and open a new beginning from the implosion. Thus, from his first screen-play with Losey, Pinter can find his concomitant passions for film and not just politics but also sexual politics and he can liberate himself from his oedipalized room.
The central concern of The Servant can be regarded as the power struggle between the master and the servant. But the film goes beyond the politics of class and becomes a naturalistic film of impulse-images which present the originary world that exists and operates in the depths of the real Victorian environment of Tony’s house. The impulse-images of The Servant are generated by a series of violent plays and skillful mirror plays, such as doubling or tripling, distorting, fragmenting, magnifying, diminishing images, especially on the ensnaring convex mirror. Plays in the film gradually become violent male homosexual games from which Tony and Barrett cannot exit. Deleuze indicates that we can look for a salvation in the women in The Servant who are outside the originary world of men. By appropriating Deleuze’s seeking for a line of flight in the women, this paper argues that Susan and Vera always remain inside the originary world instead of its outside, although they are forced to disappear from the world after playing the roles of mediators for men’s game. That is, they will explode the world from its inside and open a new beginning from the implosion. Thus, from his first screen-play with Losey, Pinter can find his concomitant passions for film and not just politics but also sexual politics and he can liberate himself from his oedipalized room.
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UCI(KEPA) : I410-ECN-0101-2012-842-004460709