1960년대 한국영화의 서술하는 목소리

Abstract

이 연구는 보이스오버(voice-over)와 직접서술(direct narration)이라는 핵심어를 통해 1960년대 한국영화가 보여준 영화적 서술의 활용법과 가능성을 탐구한다. 이 시기의 한국영화가 내러티브 전달과 수용 과정에서 어떠한 서사 전략과 방법론을 채택하고 있었는지, 그리하여 그것들이 그 시기의 한국영화를 서술의 측면에서 어떻게 다양하고 풍부한 스펙트럼으로 만들어 주었는지를 조명하고자 한 것이다. 분석의 대상은 1958년 김소동 감독의 <돈>과 양주남 감독의 <종각 - 또 하나의 새벽을 그리며>부터 1969년 심우섭 감독의 <내 팔자가 상팔자>까지 대략적으로 1960년대에 제작된 상업영화 38편이며, 이들은 모두 최소한 이 연구에서 지칭하는 ‘서술하는 목소리(narrating voice)’를 1회 이상 활용하고 있는 작품들이다. 이 연구는 주로 위의 작품들에 활용된 보이스오버 내레이션과 직접서술을 분석하였다. 보이스오버 내레이션은 다시 캐릭터 내레이션과 보이지 않는 발화자의 내레이션으로 구분하여 분석하였다. 한편 직접서술에 대해서는 서구의 서술 전통과 한국의 서술 전통을 각각 모방적 서사와 구술적 전통으로 대비시킨 후, 이 시기의 한국영화에 나타나는 직접서술이 서구 모더니즘 영화에서 발견되는 직접서술과 어떤 차이가 있는지를 밝히고자 했다. 그 결과 1960년대 한국영화의 서술하는 목소리인 보이스오버와 직접서술의 공통된 키워드가 ‘친밀감’이라는 사실을 도출해 냈다. 즉 보이스오버는 관객의 정서적 공감과 동일시를 위해 캐릭터에 대한 친밀감을 이끌어내고 있었다면, 직접서술은 서사에 대한 관객의 빠른 몰입을 유도하기 위해 친밀한 분위기를 미리 형성하는 경향을 보여 주었다. 그리고 이러한 특성은 1960년대의 한국영화가 장르와 무관하게 멜로드라마적인 성향을 띠며 대체로 감정과 정서에 호소하는 영화들이 제작되었던 당대의 실정에 부합하게 서술하는 목소리가 활용되고 있었음을 확인시켜 준다. |This paper does research on the ways of use and possibilities of filmic narration in 1960's Korean films through the key words of voice-over and direct narration. In other words, this discusses what kinds of narrative strategy and methodology were selected in the process of narrative communication by Korean films during this period and how various and wide spectrum of narration in Korean films could be formed by them. In this paper, 38 films from Kim So Dong's The Money(Don, 1958) and Yang Ju nam's The Bell Tower: Missing Another Dawn(Jonggak, 1958) to Shim Wu Seob's Fine Destiny(Nae PalJa ga Sang Palja, 1969), which were feature films produced around 1960's, are analysed. All of these films used what I call 'narrating voice', which includes voice-over and direct narration, at least one time. Narrating voices of those films are analysed. Voice-over narration is divided into character narration and invisible narrator's narration and each is discussed related to filmic genre as well as narrational function. In terms of direct narration, I would like to compare Korean traditional narrative of oral narration with the western traditional narrative of mimetic narration and then reveal how the direct narration in 1960's Korean films is different from that in the western modernism films. As a result, intimacy is confirmed as the common key word of voice-over and direct narration in 1960's Korean films. Voice-over was deriving intimacy with a character in order for the spectator's emotional empathy and identification, while direct narration had a tendency to make a close intimate relationship as soon as possible for the spectator's swift emotional immersion. This means 1960's Korean films had a inclination to be melodramatic regardless of genre and the narrating voices were used to enhance the emotion and sentiment of the films.

Key words voice-over, direct narration, 1960's korean films, narrating voice, character narration, invisible narrator's narration, mimetic narration, oral narration, intimacy; This paper does research on the ways of use and possibilities of filmic narration in 1960's Korean films through the key words of voice-over and direct narration. In other words, this discusses what kinds of narrative strategy and methodology were selected in the process of narrative communication by Korean films during this period and how various and wide spectrum of narration in Korean films could be formed by them. In this paper, 38 films from Kim So Dong's The Money(Don, 1958) and Yang Ju nam's The Bell Tower: Missing Another Dawn(Jonggak, 1958) to Shim Wu Seob's Fine Destiny(Nae PalJa ga Sang Palja, 1969), which were feature films produced around 1960's, are analysed. All of these films used what I call 'narrating voice', which includes voice-over and direct narration, at least one time. Narrating voices of those films are analysed. Voice-over narration is divided into character narration and invisible narrator's narration and each is discussed related to filmic genre as well as narrational function. In terms of direct narration, I would like to compare Korean traditional narrative of oral narration with the western traditional narrative of mimetic narration and then reveal how the direct narration in 1960's Korean films is different from that in the western modernism films. As a result, intimacy is confirmed as the common key word of voice-over and direct narration in 1960's Korean films. Voice-over was deriving intimacy with a character in order for the spectator's emotional empathy and identification, while direct narration had a tendency to make a close intimate relationship as soon as possible for the spectator's swift emotional immersion. This means 1960's Korean films had a inclination to be melodramatic regardless of genre and the narrating voices were used to enhance the emotion and sentiment of the films.

Key words voice-over, direct narration, 1960's korean films, narrating voice, character narration, invisible narrator's narration, mimetic narration, oral narration, intimacy