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.
초록· 키워드
오류제보하기
In the 1960s, the society of France was totally changed in lifestyle and mentality. At the same time, French New Wave shook up the cinema world while Hollywood was collapsing. Jean-Luc Godard was standing atthe center of this 《French culture revolution》.
“How does the director express his intention through the camera?” Our hypothesis links the director’s intention and his filmic style. To prove this one, we analyze the use of the camera, especially Jean-Luc Godard’s three films in Karina period (1960-1967) : Contempt (1963), Masculine Feminine and Made In U.S.A (1966).
The camera is the invisible which creates the visible. It is not only the representative of the director’s gaze but also a voyeur, similar to the audience in some way. We can study this invisible camera because we know how the director had used it through the images shown in the film. For analysis, we choose three items-movement, distance and angle-those can be found clearly in the film to reveal the camera. We analyse them statistically for clear interpretation.
This study proceeds in three steps. The first step is the short introduction of existing research on the film style. The second step is the statistical analysis on the use of the camera in every shot of three films. Finally, we prove the existence of the Godard’s style in Karina period. We also want to reveal the Godard’s intention in his making of the film.
“How does the director express his intention through the camera?” Our hypothesis links the director’s intention and his filmic style. To prove this one, we analyze the use of the camera, especially Jean-Luc Godard’s three films in Karina period (1960-1967) : Contempt (1963), Masculine Feminine and Made In U.S.A (1966).
The camera is the invisible which creates the visible. It is not only the representative of the director’s gaze but also a voyeur, similar to the audience in some way. We can study this invisible camera because we know how the director had used it through the images shown in the film. For analysis, we choose three items-movement, distance and angle-those can be found clearly in the film to reveal the camera. We analyse them statistically for clear interpretation.
This study proceeds in three steps. The first step is the short introduction of existing research on the film style. The second step is the statistical analysis on the use of the camera in every shot of three films. Finally, we prove the existence of the Godard’s style in Karina period. We also want to reveal the Godard’s intention in his making of the film.
목차
1. 서론
2. 연구대상과 분석 방법
3. 통계적 분석 적용
4. 통계 분석에 대한 해석
5. 결론
참고문헌
Abstract
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UCI(KEPA) : I410-ECN-0101-2014-688-002402647