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.
이용수
초록· 키워드
오류제보하기
Sokurov’s Faust is the culmination of the director’s “Tetralogy of Power” series, following Moloch, Taurus, and The Sun. While the first three films depict major powers of the twentieth century, including Hitler, Lenin, and Hirohito, Faust is based on the Goethe classic.
In Sokurov’s version, a poverty-stricken Faust pawns his ring for money. The moneylender, Muller, replaces Goethe’s Mephistopheles, and the ring, devalued by Muller, symbolizes the academic achievement Faust has acquired in his lifetime.
The problem of hunger can be resolved with money, but it requires collateral; the problem of seeking to confirm one’s existence through acts of lust can be resolved with women, but it requires one’s soul in exchange. The body is a prerequisite in both situations. Unlike in Goethe’s novel, Sokurov leads the audience recognize the reality of problems related to the soul and the body by placing money in the contract process between Faust and Muller.
Using Homunculus made by Wagner, Faust’s assistant, the director also alludes to the status and illusion of the bodiless soul.
Shortly after engaging in sexual intercourse with Margarete, Faust realizes that time has stopped. By introducing earlier in the film the expression of time from the second par of Goethe’s novel, Sokurov shows his intention to dilute Faust’s salvation. The scene of Valentin’s expression of gratitude introduces the issue of an empowerd Faust, and a moment involving a volcanic crater portrays the protagonist’s arrogance in attempting to go beyond God. Eventually, by smashing Muller with a stone, Faust becomes a man of power who can even punish evil. Sokurov’s messgae is that there is no salvation for this empowered Faust.
In Sokurov’s version, a poverty-stricken Faust pawns his ring for money. The moneylender, Muller, replaces Goethe’s Mephistopheles, and the ring, devalued by Muller, symbolizes the academic achievement Faust has acquired in his lifetime.
The problem of hunger can be resolved with money, but it requires collateral; the problem of seeking to confirm one’s existence through acts of lust can be resolved with women, but it requires one’s soul in exchange. The body is a prerequisite in both situations. Unlike in Goethe’s novel, Sokurov leads the audience recognize the reality of problems related to the soul and the body by placing money in the contract process between Faust and Muller.
Using Homunculus made by Wagner, Faust’s assistant, the director also alludes to the status and illusion of the bodiless soul.
Shortly after engaging in sexual intercourse with Margarete, Faust realizes that time has stopped. By introducing earlier in the film the expression of time from the second par of Goethe’s novel, Sokurov shows his intention to dilute Faust’s salvation. The scene of Valentin’s expression of gratitude introduces the issue of an empowerd Faust, and a moment involving a volcanic crater portrays the protagonist’s arrogance in attempting to go beyond God. Eventually, by smashing Muller with a stone, Faust becomes a man of power who can even punish evil. Sokurov’s messgae is that there is no salvation for this empowered Faust.
목차
Ⅰ. 서론
Ⅱ. 본론
Ⅲ. 결론
참고문헌
Abstract
참고문헌 (27)
참고문헌 신청
이 논문의 저자 정보
이 논문과 함께 이용한 논문
A. 소쿠로프의 영화 <알렉산드라>에 나타난 카프카스 이미지
김성일
스토리앤이미지텔링
2016
.06
안드레이 타르코프스키의 영화에 나타난 인간의 이미지
김이석
인문과학연구
2014
.12
소비에트 이데올로기에 대한 안티테제 텍스트로서의 〈잠입자〉 : 스트루가츠키 형제의 판타지에서 도스토예프스키 소설로의 시나리오 변형과정에 대한 小考
박영은
외국문학연구
2013
.05
타르코프스키 영화의 소리에 관한 연구 : <잠입자>와 <향수>의 영화음악과 효과음을 중심으로
채혜연
노어노문학
2012
.12
안드레이 루블료프 이콘 해석의 패러다임과 신화 창조의 메커니즘 : ‘디오니시우스 아레오파기트 사상’과 ‘삼위일체적 형제애’의 예술적 변용을 중심으로
박영은
노어노문학
2011
.12
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2016-309-001086496