cinema paradiso, 1988pds24.egloos.com/pds/201205/25/42/20120525_w13.pdf · 2012-05-24 · cinema...
TRANSCRIPT
![Page 1: Cinema Paradiso, 1988pds24.egloos.com/pds/201205/25/42/20120525_w13.pdf · 2012-05-24 · Cinema Paradiso, 1988. 1. Georges Méliès (1861-1938) French filmmaker Realism vs. Formalism](https://reader030.vdocuments.us/reader030/viewer/2022040301/5e780dccb25e7654c62e697d/html5/thumbnails/1.jpg)
Cinema Paradiso, 1988
![Page 2: Cinema Paradiso, 1988pds24.egloos.com/pds/201205/25/42/20120525_w13.pdf · 2012-05-24 · Cinema Paradiso, 1988. 1. Georges Méliès (1861-1938) French filmmaker Realism vs. Formalism](https://reader030.vdocuments.us/reader030/viewer/2022040301/5e780dccb25e7654c62e697d/html5/thumbnails/2.jpg)
1. Georges Méliès (1861-1938)
French filmmaker Realism vs. Formalism pioneer of special effect <A Trip to the Moon> (1902)
![Page 3: Cinema Paradiso, 1988pds24.egloos.com/pds/201205/25/42/20120525_w13.pdf · 2012-05-24 · Cinema Paradiso, 1988. 1. Georges Méliès (1861-1938) French filmmaker Realism vs. Formalism](https://reader030.vdocuments.us/reader030/viewer/2022040301/5e780dccb25e7654c62e697d/html5/thumbnails/3.jpg)
1. Georges Méliès (1861-1938)
The Man with Rubber Head, 1901
The Fat and Lean Wrestling Match, 1900
One Man Band, 1900
A Trip to the Moon, 1902
![Page 4: Cinema Paradiso, 1988pds24.egloos.com/pds/201205/25/42/20120525_w13.pdf · 2012-05-24 · Cinema Paradiso, 1988. 1. Georges Méliès (1861-1938) French filmmaker Realism vs. Formalism](https://reader030.vdocuments.us/reader030/viewer/2022040301/5e780dccb25e7654c62e697d/html5/thumbnails/4.jpg)
2. High Angle
The African Queen, 1951
Bird's eye shot relative speed God's eye (what kind of God) Google Earth working with Zoom or Dolly
Bonnie and Clyde, 1967
![Page 5: Cinema Paradiso, 1988pds24.egloos.com/pds/201205/25/42/20120525_w13.pdf · 2012-05-24 · Cinema Paradiso, 1988. 1. Georges Méliès (1861-1938) French filmmaker Realism vs. Formalism](https://reader030.vdocuments.us/reader030/viewer/2022040301/5e780dccb25e7654c62e697d/html5/thumbnails/5.jpg)
2. High Angle
Planet Earth, 2006
![Page 6: Cinema Paradiso, 1988pds24.egloos.com/pds/201205/25/42/20120525_w13.pdf · 2012-05-24 · Cinema Paradiso, 1988. 1. Georges Méliès (1861-1938) French filmmaker Realism vs. Formalism](https://reader030.vdocuments.us/reader030/viewer/2022040301/5e780dccb25e7654c62e697d/html5/thumbnails/6.jpg)
3. Low Angle
![Page 7: Cinema Paradiso, 1988pds24.egloos.com/pds/201205/25/42/20120525_w13.pdf · 2012-05-24 · Cinema Paradiso, 1988. 1. Georges Méliès (1861-1938) French filmmaker Realism vs. Formalism](https://reader030.vdocuments.us/reader030/viewer/2022040301/5e780dccb25e7654c62e697d/html5/thumbnails/7.jpg)
3. Low Angle
Once upon a time in the West, 1968
![Page 8: Cinema Paradiso, 1988pds24.egloos.com/pds/201205/25/42/20120525_w13.pdf · 2012-05-24 · Cinema Paradiso, 1988. 1. Georges Méliès (1861-1938) French filmmaker Realism vs. Formalism](https://reader030.vdocuments.us/reader030/viewer/2022040301/5e780dccb25e7654c62e697d/html5/thumbnails/8.jpg)
4. Slapstick Comedy
The Kid, 1921
- 무성영화의 주인공들은 왜 좀 우스꽝스럽게 보이는가 - 무성영화는 16프레임, 유성영화는 24프레임 상영 - 카메라를 손으로 크랭크했기 때문에 일정한 상영 프레임은 없었고 코미디 이외의 쟝르영화에 대해서는 기술적으로 왜곡된 점이 있다 / 미학적으로도
- Charl ie Chaplin, Buster Keaton in 1920s - cf. screwball comedy
![Page 9: Cinema Paradiso, 1988pds24.egloos.com/pds/201205/25/42/20120525_w13.pdf · 2012-05-24 · Cinema Paradiso, 1988. 1. Georges Méliès (1861-1938) French filmmaker Realism vs. Formalism](https://reader030.vdocuments.us/reader030/viewer/2022040301/5e780dccb25e7654c62e697d/html5/thumbnails/9.jpg)
5. Film Noir and Light
- lighting conveys mood and creating a sense of place, time, weather etc - backlight defines depth in the image by distinguishing between the subject and the background / result in a silhouette of an object - side lighting sculpts the shape and texture of the subject and casts strong shadows - under lighting distorts subject appearance of the subject (because natural light comes from above from the sun) - top lighting - fill / key/ backlight : Three Point Light - low-key lighting (key and back) vs. high-key lighting (key, back, fill)
![Page 10: Cinema Paradiso, 1988pds24.egloos.com/pds/201205/25/42/20120525_w13.pdf · 2012-05-24 · Cinema Paradiso, 1988. 1. Georges Méliès (1861-1938) French filmmaker Realism vs. Formalism](https://reader030.vdocuments.us/reader030/viewer/2022040301/5e780dccb25e7654c62e697d/html5/thumbnails/10.jpg)
5. Film Noir
- the term "Film Noir" was named and defined by post-war French critics - gangster, crime, detective, hard-boiled, psychological killer - character, dialogue style, lighting choice
The Postman always rings twice, 1946, 1981
![Page 11: Cinema Paradiso, 1988pds24.egloos.com/pds/201205/25/42/20120525_w13.pdf · 2012-05-24 · Cinema Paradiso, 1988. 1. Georges Méliès (1861-1938) French filmmaker Realism vs. Formalism](https://reader030.vdocuments.us/reader030/viewer/2022040301/5e780dccb25e7654c62e697d/html5/thumbnails/11.jpg)
6. Depth of Field
Apocalypto, 2006
- 초점이 맞는 z축 상의 거리 범위 - 심도가 얕다, 깊다 라는 표현 - 렌즈의 조리개가 심도를 조절 (좁게 열린 조리개는 얕은 심도의 이미지를 만들어냄) - 또 다른 심도조절 방법은 카메라와 피사체 사이의 거리 변화 - 망원렌즈, 광각렌즈, "여친렌즈" (아웃포커싱)
![Page 12: Cinema Paradiso, 1988pds24.egloos.com/pds/201205/25/42/20120525_w13.pdf · 2012-05-24 · Cinema Paradiso, 1988. 1. Georges Méliès (1861-1938) French filmmaker Realism vs. Formalism](https://reader030.vdocuments.us/reader030/viewer/2022040301/5e780dccb25e7654c62e697d/html5/thumbnails/12.jpg)
6. Depth of Field
- '큰 늑대'에 맞서는 '중간 눈' vs. '큰 늑대'의 권력 아래 존재하는 '중간 눈' (역학관계를 심도로 표현) - 초점의 이동 (selective focusing) - 딥 포커스 (deep focus): 객관적이며 사실적이고 비낭만적인 느낌, 영화적이라기보다는 '연극적'이라고 평가하기도.
The Graduate , 1967
![Page 13: Cinema Paradiso, 1988pds24.egloos.com/pds/201205/25/42/20120525_w13.pdf · 2012-05-24 · Cinema Paradiso, 1988. 1. Georges Méliès (1861-1938) French filmmaker Realism vs. Formalism](https://reader030.vdocuments.us/reader030/viewer/2022040301/5e780dccb25e7654c62e697d/html5/thumbnails/13.jpg)
7. Close-up shot
City Lights, 1931 WALL-E, 2008
![Page 14: Cinema Paradiso, 1988pds24.egloos.com/pds/201205/25/42/20120525_w13.pdf · 2012-05-24 · Cinema Paradiso, 1988. 1. Georges Méliès (1861-1938) French filmmaker Realism vs. Formalism](https://reader030.vdocuments.us/reader030/viewer/2022040301/5e780dccb25e7654c62e697d/html5/thumbnails/14.jpg)
7. Close-up shot
Once upon a time in the West, 1968
La passion de Jeanne d'Arc, 1928
![Page 15: Cinema Paradiso, 1988pds24.egloos.com/pds/201205/25/42/20120525_w13.pdf · 2012-05-24 · Cinema Paradiso, 1988. 1. Georges Méliès (1861-1938) French filmmaker Realism vs. Formalism](https://reader030.vdocuments.us/reader030/viewer/2022040301/5e780dccb25e7654c62e697d/html5/thumbnails/15.jpg)
7. Close-up shot
- 초기 무성영화에서는 주로 넓은 쇼트만을 사용, 마치 무대 위 공연을 관람하는 듯한 경험을 복제 - 인물의 행동과 감정의 뉘앙스를 볼 수 있다는 점 - 영화연기가 발전하는데 중대한 영향 미침 (과장된 스타일에서 자연스러운 스타일로) - 헤드 쇼트 (Head shot) - "코미디에는 롱 쇼트, 비극에는 클로즈업" (찰리 채플린) - cf. City Lights (1931) - 렌즈의 기술적 진보 (더 얕은 심도)로 화면 안에서 주가 되는 피사체를 효과적으로 '분리'해 냄 - WALL-E 눈에 비친 것, 로봇의 표정에 주목할 것
![Page 16: Cinema Paradiso, 1988pds24.egloos.com/pds/201205/25/42/20120525_w13.pdf · 2012-05-24 · Cinema Paradiso, 1988. 1. Georges Méliès (1861-1938) French filmmaker Realism vs. Formalism](https://reader030.vdocuments.us/reader030/viewer/2022040301/5e780dccb25e7654c62e697d/html5/thumbnails/16.jpg)
8. Steadicam
Rocky, 1976
- 1975, Garrett Brown invented it - stabilizer
![Page 17: Cinema Paradiso, 1988pds24.egloos.com/pds/201205/25/42/20120525_w13.pdf · 2012-05-24 · Cinema Paradiso, 1988. 1. Georges Méliès (1861-1938) French filmmaker Realism vs. Formalism](https://reader030.vdocuments.us/reader030/viewer/2022040301/5e780dccb25e7654c62e697d/html5/thumbnails/17.jpg)
8. Steadicam
"solid shot" - heligimbal
The Shining, 1980 Planet Earth, 2006
![Page 18: Cinema Paradiso, 1988pds24.egloos.com/pds/201205/25/42/20120525_w13.pdf · 2012-05-24 · Cinema Paradiso, 1988. 1. Georges Méliès (1861-1938) French filmmaker Realism vs. Formalism](https://reader030.vdocuments.us/reader030/viewer/2022040301/5e780dccb25e7654c62e697d/html5/thumbnails/18.jpg)
9. Hand-held camera
The Blair Witch Project, 1998
- 카메라의 흔들림은 피사체와 근접할수록 과장된다 - 주로 시점 쇼트(P.O.V. shot)에서 많이 사용된다 - 소형 디지털 카메라의 대중화 - 라스 폰 트리에 (Lars von Trier) - 다양한 휴먼 다큐멘터리 장르, 6mm 프로그램의 지상파 입성 - 극명한 장점과 단점 - 왕가위 감독
![Page 19: Cinema Paradiso, 1988pds24.egloos.com/pds/201205/25/42/20120525_w13.pdf · 2012-05-24 · Cinema Paradiso, 1988. 1. Georges Méliès (1861-1938) French filmmaker Realism vs. Formalism](https://reader030.vdocuments.us/reader030/viewer/2022040301/5e780dccb25e7654c62e697d/html5/thumbnails/19.jpg)
10. Fast Motion vs. Slow Motion
Wild Bunch, 1969
24 frame/secFast Motion 프레임수가 적어질수록
Slow Motion 프레임수가 많아질수록
Astro Boy, 1963
![Page 20: Cinema Paradiso, 1988pds24.egloos.com/pds/201205/25/42/20120525_w13.pdf · 2012-05-24 · Cinema Paradiso, 1988. 1. Georges Méliès (1861-1938) French filmmaker Realism vs. Formalism](https://reader030.vdocuments.us/reader030/viewer/2022040301/5e780dccb25e7654c62e697d/html5/thumbnails/20.jpg)
10. Fast Motion vs. Slow Motion
Come Drink with Me, 1966
- 전투장면 - 운동경기를 소재로 한 영화 - 뮤지컬 영화에서 샴푸 광고까지
![Page 21: Cinema Paradiso, 1988pds24.egloos.com/pds/201205/25/42/20120525_w13.pdf · 2012-05-24 · Cinema Paradiso, 1988. 1. Georges Méliès (1861-1938) French filmmaker Realism vs. Formalism](https://reader030.vdocuments.us/reader030/viewer/2022040301/5e780dccb25e7654c62e697d/html5/thumbnails/21.jpg)
11. Freeze Frame
Butch Cassidy and the Sundance Kid, 1969 Gallipoli, 1981
![Page 22: Cinema Paradiso, 1988pds24.egloos.com/pds/201205/25/42/20120525_w13.pdf · 2012-05-24 · Cinema Paradiso, 1988. 1. Georges Méliès (1861-1938) French filmmaker Realism vs. Formalism](https://reader030.vdocuments.us/reader030/viewer/2022040301/5e780dccb25e7654c62e697d/html5/thumbnails/22.jpg)
11. Freeze Frame
The 400 Blows, 1959
Thelma and Louise, 1991
![Page 23: Cinema Paradiso, 1988pds24.egloos.com/pds/201205/25/42/20120525_w13.pdf · 2012-05-24 · Cinema Paradiso, 1988. 1. Georges Méliès (1861-1938) French filmmaker Realism vs. Formalism](https://reader030.vdocuments.us/reader030/viewer/2022040301/5e780dccb25e7654c62e697d/html5/thumbnails/23.jpg)
12. Animation
- 애니메이션의 역설 (최종적인 목표는 움직이게 하는 것, 하지만 결코 스스로 움직이는 것을 찍지는 않는다) - 셀 애니메이션 - 유리 애니메이션 - 클레이 애니메이션 - 퍼펫 애니메이션 - 샌드 애니메이션 - 파스타 애니메이션? - 절지 애니메이션 - 실사 + 애니메이션 and 아트 애니메이션
![Page 24: Cinema Paradiso, 1988pds24.egloos.com/pds/201205/25/42/20120525_w13.pdf · 2012-05-24 · Cinema Paradiso, 1988. 1. Georges Méliès (1861-1938) French filmmaker Realism vs. Formalism](https://reader030.vdocuments.us/reader030/viewer/2022040301/5e780dccb25e7654c62e697d/html5/thumbnails/24.jpg)
12. AnimationHistory of Cell Animation
Flatworld, 1997 The Old Man and the Sea, 1999
![Page 25: Cinema Paradiso, 1988pds24.egloos.com/pds/201205/25/42/20120525_w13.pdf · 2012-05-24 · Cinema Paradiso, 1988. 1. Georges Méliès (1861-1938) French filmmaker Realism vs. Formalism](https://reader030.vdocuments.us/reader030/viewer/2022040301/5e780dccb25e7654c62e697d/html5/thumbnails/25.jpg)
12. Animation
볼록이 이야기, 2003Miniscule, 2007
![Page 26: Cinema Paradiso, 1988pds24.egloos.com/pds/201205/25/42/20120525_w13.pdf · 2012-05-24 · Cinema Paradiso, 1988. 1. Georges Méliès (1861-1938) French filmmaker Realism vs. Formalism](https://reader030.vdocuments.us/reader030/viewer/2022040301/5e780dccb25e7654c62e697d/html5/thumbnails/26.jpg)
13. Mise-en-Scène
- 좁은 의미로는 '카메라 앞에 배치되는 모든 것들' 또는 '그것들의 배치' 정도의 의미 (decor, props, actors, set etc) - 넓은 의미로는 앙드레 바쟁이 주장한 대로 할리우드식의 컷 베이스 편집에 대항한 개념으로 - 딥 포커스와 롱 테이크 등의 기술을 통해 피사체와 그 주변과의 통일성을 도모하는 테크닉
![Page 27: Cinema Paradiso, 1988pds24.egloos.com/pds/201205/25/42/20120525_w13.pdf · 2012-05-24 · Cinema Paradiso, 1988. 1. Georges Méliès (1861-1938) French filmmaker Realism vs. Formalism](https://reader030.vdocuments.us/reader030/viewer/2022040301/5e780dccb25e7654c62e697d/html5/thumbnails/27.jpg)
13. Mise-en-Scène
![Page 28: Cinema Paradiso, 1988pds24.egloos.com/pds/201205/25/42/20120525_w13.pdf · 2012-05-24 · Cinema Paradiso, 1988. 1. Georges Méliès (1861-1938) French filmmaker Realism vs. Formalism](https://reader030.vdocuments.us/reader030/viewer/2022040301/5e780dccb25e7654c62e697d/html5/thumbnails/28.jpg)
13. Mise-en-Scène
The Desperate Hours, 1955
![Page 29: Cinema Paradiso, 1988pds24.egloos.com/pds/201205/25/42/20120525_w13.pdf · 2012-05-24 · Cinema Paradiso, 1988. 1. Georges Méliès (1861-1938) French filmmaker Realism vs. Formalism](https://reader030.vdocuments.us/reader030/viewer/2022040301/5e780dccb25e7654c62e697d/html5/thumbnails/29.jpg)
14. Offscreen space
Shirin, 2008
![Page 30: Cinema Paradiso, 1988pds24.egloos.com/pds/201205/25/42/20120525_w13.pdf · 2012-05-24 · Cinema Paradiso, 1988. 1. Georges Méliès (1861-1938) French filmmaker Realism vs. Formalism](https://reader030.vdocuments.us/reader030/viewer/2022040301/5e780dccb25e7654c62e697d/html5/thumbnails/30.jpg)
15. Continuity Editing
<영화의 이해: 이론과 실제> 중에서 - 예를 들면, 한 여자가 직장을 떠나 집으로 가는 퇴근길을 - 연속적인 5개의 쇼트로 구성해 본다면 1) 여자가 사무실 문을 닫고 복도로 나간다 2) 사무실이 있는 건물을 떠난다 3) 자동차에 타고 시동을 건다 4) 고속도로를 따라 자동차를 운전한다 5) 집 앞 진입로에 자동차를 세운다 - 이것이 자연스러운 압축이다 - "for a seamless viewing experience"
![Page 31: Cinema Paradiso, 1988pds24.egloos.com/pds/201205/25/42/20120525_w13.pdf · 2012-05-24 · Cinema Paradiso, 1988. 1. Georges Méliès (1861-1938) French filmmaker Realism vs. Formalism](https://reader030.vdocuments.us/reader030/viewer/2022040301/5e780dccb25e7654c62e697d/html5/thumbnails/31.jpg)
15. Continuity Editing
Fabula (story content) & Syuzhet (story structure)
Memento, 2000
![Page 32: Cinema Paradiso, 1988pds24.egloos.com/pds/201205/25/42/20120525_w13.pdf · 2012-05-24 · Cinema Paradiso, 1988. 1. Georges Méliès (1861-1938) French filmmaker Realism vs. Formalism](https://reader030.vdocuments.us/reader030/viewer/2022040301/5e780dccb25e7654c62e697d/html5/thumbnails/32.jpg)
16. Flashback
- 1960년대 들어서야 사용되기 시작된 비고전적 편집 방식 - <전당포>에서는 일종의 subliminal 기법 사용 - 윌리엄 포크너, 마르셀 프루스트 - "confounding and enriching linearity"
Pawnbroker, 1964 Slumdog Milliionaire, 2008
![Page 33: Cinema Paradiso, 1988pds24.egloos.com/pds/201205/25/42/20120525_w13.pdf · 2012-05-24 · Cinema Paradiso, 1988. 1. Georges Méliès (1861-1938) French filmmaker Realism vs. Formalism](https://reader030.vdocuments.us/reader030/viewer/2022040301/5e780dccb25e7654c62e697d/html5/thumbnails/33.jpg)
17. Jump Cut
North by Northwest, 1959
- 경우에 따라서 아주 효과적인 match shot이 될 수 있다
2001: A Space Odyssey, 1968
![Page 34: Cinema Paradiso, 1988pds24.egloos.com/pds/201205/25/42/20120525_w13.pdf · 2012-05-24 · Cinema Paradiso, 1988. 1. Georges Méliès (1861-1938) French filmmaker Realism vs. Formalism](https://reader030.vdocuments.us/reader030/viewer/2022040301/5e780dccb25e7654c62e697d/html5/thumbnails/34.jpg)
18. neorealism
Bicycle thieves, 1948
- 1945년 2차세계대전 이후 이탈리아
- 비토리오 데 시카, 로베르토 로셀리니
- 딥 포커스, 롱 쇼트, 제한된 클로즈업
- 커트에 의한 시간적 단절을 피하고 다큐멘터리 촬영과 편집기법과 유사하게 제작, 현실적 시간을 그대로 보여주려고 시도
![Page 35: Cinema Paradiso, 1988pds24.egloos.com/pds/201205/25/42/20120525_w13.pdf · 2012-05-24 · Cinema Paradiso, 1988. 1. Georges Méliès (1861-1938) French filmmaker Realism vs. Formalism](https://reader030.vdocuments.us/reader030/viewer/2022040301/5e780dccb25e7654c62e697d/html5/thumbnails/35.jpg)
19. Wide Screen - 1950년대 도입 당시 대부분의 평론가와 감독들로부터 거센 반발 - Cinerama, CinemaScope, VistaVision, Todd-AO - 클로즈업과 헤드 쇼트의 미학 파괴한다고 생각 - 화면의 깊이감 대신 넓이 선호 - 성공적으로 이용한 쟝르는 서부극과 역사물 - 눈과 입의 클로즈업 쇼트가 가지고 있는 미학 발견 - 현실적 시공간의 강화된 박진감, 미세한 부분의 묘사, 심도, 객관적 표현성 등이 장점 - 1960년대 Panavision - 이후, 와이드 스크린 aspect ratio는 미국 내에서는 1.85:1, 유럽에서는 1.66:1로 통일됨 - IMAX 등의 탄생
![Page 36: Cinema Paradiso, 1988pds24.egloos.com/pds/201205/25/42/20120525_w13.pdf · 2012-05-24 · Cinema Paradiso, 1988. 1. Georges Méliès (1861-1938) French filmmaker Realism vs. Formalism](https://reader030.vdocuments.us/reader030/viewer/2022040301/5e780dccb25e7654c62e697d/html5/thumbnails/36.jpg)
19. Wide Screen
Once upon a time in the West, 1968
![Page 37: Cinema Paradiso, 1988pds24.egloos.com/pds/201205/25/42/20120525_w13.pdf · 2012-05-24 · Cinema Paradiso, 1988. 1. Georges Méliès (1861-1938) French filmmaker Realism vs. Formalism](https://reader030.vdocuments.us/reader030/viewer/2022040301/5e780dccb25e7654c62e697d/html5/thumbnails/37.jpg)
이슬예나 PD 2011. 10. ~ 현재 EBS PD <장학퀴즈> 조연출 2009. 01. ~ 2011. 09. SK텔레콤 브랜드전략실 근무 생각대로T' TV, 인쇄, 온라인 광고 관련 업무 2007. 01. ~ 2007. 05 미국계 홍보대행사 플레시먼힐러드 인턴 2005. 01. ~ 2005. 12 UC Berkeley 교환학생 2003. 03. ~ 2008. 08 연세대학교 신문방송학과 교내 주요 활동: YVAC (Yonsei Video Arts Center) 제작팀장
![Page 38: Cinema Paradiso, 1988pds24.egloos.com/pds/201205/25/42/20120525_w13.pdf · 2012-05-24 · Cinema Paradiso, 1988. 1. Georges Méliès (1861-1938) French filmmaker Realism vs. Formalism](https://reader030.vdocuments.us/reader030/viewer/2022040301/5e780dccb25e7654c62e697d/html5/thumbnails/38.jpg)
최평순 PD
1984 출생 2002.3 고려대 언론학부 입학 2002-2004 고려대학교 교육방송국 KUBS PD, 국장 2007-2008 스웨덴 Uppasala Univ. 교환학생 2009 민변 인턴 2010.2 고려대 언론학부, 정치외교학과 졸업 2010 국회 인턴 2010.5 다큐멘터리 <텀블러라이프> 서울환경영화제 상영 2011 TBWA Korea AE 2011.10 EBS 입사