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
This study focuses on the fact that the superior ability to represent reality in film transformed dramatic acting styles that have been developed on the stage into ‘realistic acting’ to make characters ‘alive’ as a figure present in the screen. This means that the reality in film has greatly developed the ‘realistic acting’ through camera, filmmaking technique, screen and audience’s appreciation of reality.
This acting style emphasizing actors ‘personalities captured by the camera lens has developed the film acting method for actors’ ‘acting’ and ‘utilization of themselves’. The ‘reality’ of film acting was rapidly established by Method acting to maximize ‘psychological realism’ and ‘emotional memory’ by Constantin Stanislavsky.
In the Korean cinema, the realistic acting style has been greatly developed again through the renaissance (in the late 1990s). In particular, the reality of a film director Hong Sang-Soo who focused on the daily reality pursued realistic the acting style of actors, and had a significant effect on the development of the realistic acting style in the subsequent Korean cinema.
Thus, this study analyzed how acting and camera effects could establish the reality of film acting on The Day a Pig Fell into the Well directed by Hong Sang-Soo. In conclusion, the results showed that most of techniques for the reality analyzed in this film were effective to release the reality and actors’ ‘acting consciousness’. ‘long shot’, ‘long take’, ‘out of frame’, ‘back view’, ‘interaction with characters’ and ‘interaction with the environment’ were used to reduce not only cinematic forms and screen effects but also actors’ acting consciousness as an important device.
The ‘reality’ in film acting works as a critical expression factor to establish the reality in the screen. However, the division between camera and acting effects has been gradually blurred beyond the acting level of actors. Camera reveals even actors’ ‘acting consciousness’, and actors are required to make a conscious effort at different levels because the integration of ‘actor-character’ has a remarkable ability to realize a virtual world. However, it is a fact that actors cannot get out of ‘character’ psychologically due to the excessive immersion and concentration based on the ‘eye of a camera’ which does not allow the gap between ‘actor-character’.
This acting style emphasizing actors ‘personalities captured by the camera lens has developed the film acting method for actors’ ‘acting’ and ‘utilization of themselves’. The ‘reality’ of film acting was rapidly established by Method acting to maximize ‘psychological realism’ and ‘emotional memory’ by Constantin Stanislavsky.
In the Korean cinema, the realistic acting style has been greatly developed again through the renaissance (in the late 1990s). In particular, the reality of a film director Hong Sang-Soo who focused on the daily reality pursued realistic the acting style of actors, and had a significant effect on the development of the realistic acting style in the subsequent Korean cinema.
Thus, this study analyzed how acting and camera effects could establish the reality of film acting on The Day a Pig Fell into the Well directed by Hong Sang-Soo. In conclusion, the results showed that most of techniques for the reality analyzed in this film were effective to release the reality and actors’ ‘acting consciousness’. ‘long shot’, ‘long take’, ‘out of frame’, ‘back view’, ‘interaction with characters’ and ‘interaction with the environment’ were used to reduce not only cinematic forms and screen effects but also actors’ acting consciousness as an important device.
The ‘reality’ in film acting works as a critical expression factor to establish the reality in the screen. However, the division between camera and acting effects has been gradually blurred beyond the acting level of actors. Camera reveals even actors’ ‘acting consciousness’, and actors are required to make a conscious effort at different levels because the integration of ‘actor-character’ has a remarkable ability to realize a virtual world. However, it is a fact that actors cannot get out of ‘character’ psychologically due to the excessive immersion and concentration based on the ‘eye of a camera’ which does not allow the gap between ‘actor-character’.
목차
1. 서론
2. 이론적 배경
3. 영화연기의 사실성 : 영화 <돼지가 우물에 빠진 날>의 영화연기방법론
4. 결론
참고문헌
Abstract
참고문헌 (2)
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UCI(KEPA) : I410-ECN-0101-2015-688-000998031