A Study on the Types of ‘Narration-Focalization’ in Hong Sang-soo’s Films Ko, Hyun-Chul This paper aims to investigate the types of ‘narration-focalization’ in Hong Sang-soo’s films in terms of the concepts of cinematic narratology including “narration”, “focalization”, “ocularization”, “filter” “intradiegetic narrator”, “extradiegetic narrator” and “grand imagier”. The results of the investigation are summarized as the following. First, the paper investigates that Hong Sang-soo’s films consist of four types of ‘narration- focalization’, that is, ‘extradiegetic narrator-zero focalization’ ‘extradiegetic narrator-variable internal focalization’, ‘intradiegetic narrator-fixed internal focalization’, ‘intradiegetic narrator- fixed internal focalization(‘intradiegetic narrator-fixed internal focalization’)’. Second, it investigates that On the Occasion of Remembering The Turning Gate, Woman Is the Future of Man, Woman on the Beach are related with ‘extradiegetic narrator-zero focalization’. Third, it investigates that The Day a Pig Fell into the Well, The Power of Kangwon Province, Virgin stripped bare by her bachelors are related with ‘extradiegetic narrator- variable internal focalization’. Fourth, the paper argues that Night and Day, Like You Know It All, Hahaha, The Day He Arrives are related with ‘intradiegetic narrator- fixed internal focalization’. Fifth, it argues that Tale of Cinema, Okhee’s Film are related with ‘intradiegetic narrator- fixed internal focalization(‘intradiegetic narrator-fixed internal focalization’)’. In conclusion, it is claimed that four types of ‘narration-ocularization’ are very effective in Hong Sang-soo’s films.
동북아시아문화학회 [The Association of North-east Asian Cultures]
설립연도
2000
분야
복합학>학제간연구
소개
동북아시아 문화의 다양성과 정체성을 연구 토론하고, 지역내 문화 교류의 다양한 모습을 연구하고 문화변동의 큰 틀을 집적함으로써 우리 민족 문화 및 상대 민족의 문화적 터전을 이해하여 문화공동체적 특성을 계발하고 상호 관련성의 강화를 유도하는 학술활동을 통해 동북아시아의 문화발전에 이바지함.