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|dc.identifier.citation||영상기술연구 / journal of the moving image technology associon of korea. 2014-06 :105-125||en_US|
|dc.description.abstract||Many people tend to think of sound as simply an accompaniment to the real basis of cinema, the moving images. But sound bristles with as many creative possibilities as editing. Many filmmakers have exploited the expansion of the range of the filmic sound through using creative ways. Leos Carax is the one of the key directors who has experiments filmic sounds in diverse ways. In his early three works, 〈Boy meets Girl〉(1984), 〈Mauvais Sang〉(1986), 〈Les Amants Du Pont-Neuf〉(1991), Carax uses with various interior monologues, off sounds, asynchronous sounds, silence to express unusual attitude to cinema and human being. It is very remarkable cinematic method which he used selection and combining of desired sound. Carax uses sounds that are recognizable to us but which come at carefully chosen moments. Through his control of what sounds we hear, what qualities these sounds have, and what relationships exist among those sounds and between sound and image, he has made this technique an important factor in controlling our attention throughout the films.||en_US|
|dc.title||레오 까락스 영화의 사운드 영역 확장에 대한 연구||en_US|
|dc.title.alternative||A Study on the Expansion of the Range of the Sound in Films of Leos Carax||en_US|
|dc.sector.daehak||COLLEGE OF PERFORMING ARTS AND SPORT[S]||-|
|dc.sector.department||DEPARTMENT OF THEATER AND FILM||-|
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