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초록· 키워드
The objective of this essay is to perform a detailed analysis on the greatness
and importance of Apichatpong Wheerasethakul’s film within the film history by
performing a comparative analysis on his film with that of Robert Bresson’s.
Under this objective, this paper will compare and contrast the differences and
similarities of the content and form of the two directors’ films.
To compare the two director’s differences in formality, this paper has used
style, narrative structure, repetition and variation, and editing style as the
analysis standard. Wheerasethakul tends to emphasize mixed genre, double
narrative structure, experimental editing, and repetition in the form of
décalcomanie and dejavu, while Bresson explains his film’s characteristics
through direct linear structure, clear emotion curve, and repetition of
‘pleaonasm’.
To show their difference in contents, this paper compares the two director’s
viewpoint on the world and religion. Wheerasethakul expresses the reminiscence
and Buddhist ideology of metempsychosis on nature using the motive of folk
tales and legends, as well as homosexual identity of the individual. Bresson
mortifies and contemplates in his films on human beings’ sin and conscience,
redemption of original sin, absolute faith on God, and rational thinking.
For the part of formal similarity, this paper seeks their similarities by actively using visual devices and sounds that break the films’ fabrications as
well as using the correlation function of ‘entropy’ and ‘neg-entropy’ explained
by the book of Joong-Kwon Jin. Especially, the ‘estrangement effect’ is well
emphasized in both directors’ films. In particular, in Weerasethakul’s films,
letterism, actors looking at the camera, deviation of sound and image, and
ambiguous actions and lines are used for the estrangement effect, while
fragmentation of image, active use of sounds, excessive repetition of pleonasm,
and ascetic, minimal plot and actors’ movements are used in Bresson’s films. In
both aspects of content and form, this essay makes the analysis on their films
from the viewpoint of poetic cinema and authorism.
While analyzing the diverse differences and similarities of the two directors’
films, this essay also shows how Apichatpong’s films were influenced by
post-modernism and how Bresson’s films were influenced by modernism.
As much as Bresson’s films were influenced by modernism, Wheerasethakul’s
films were highly influenced by post-modernism in terms of deconstructive and
acentric narration, letterism, estrangement effect, possibility of polysemic
comprehension of the audience, and experiment for the form itself.
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