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李安 영화의 동양적 이미지 운용 연구

A study on uses of Oriental Images in Lee Ang’s film

  • 남혜원 (NAM, HYE WON, 한국외국어대학교)

초록/요약

This paper is aimed at analyzing uses of oriental images in Lee Ang’s film. He is a Taiwanese American director making films vigorously in Hollywood. Behind his successful career, he was educated in both Taiwan and America and chose to be diaspora moving from Taiwan to America. Researchers say his works are well-harmonized with Eastern and Western cultures. Furthermore, they consider the movies described West in the view of Chinese. This means the position of Eastern culture in his movies is quite significant. Hence this paper sees that issues of identity in Lee Ang’s films arise from his position as a diaspora director, it inspects his life and his works as a diaspora in Chapter 2. Subsequently, in Chapter 3, and 4, it explains oriental images in visual and auditory way in his five films; Pushing Hands(推手)(1992), The Wedding Banquet(喜宴)(1993), Eat, Drink, Man, Woman(飮食男女)(1995), Crouching Tiger, Hidden Dragon(臥虎藏龍)(2000) winning Best Foreign Language Film at the Academy Awards, Lust, Caution(色,戒)(2007) coming up in conversation due to sex scenes. Visual images are divided into five sectors; color, movement, space, Chinese traditional image and form; and analyzed revolving around movie theories. The color made contrasts and symbolic images using lights and shadow, this represented characters’ slight changes, situation and atmosphere. The space arranged with the time helped narrative. The movement by characters completed still images by long take and long shot technique. Musician in soundtracks were varied from France to China regardless of nationalities or cultures promoting harmony of East and West. Sound effects brought into oriental images regarding inner spiritual world through silence. Diverse languages in films changed close image of East to open one. By releasing Chinese and oriental images frequently, Lee Ang reconstructed identity of Eastern culture through metaphor and symbols. Chinese in his films were depicted as westernized figure with oriental spirit. The oriental tradition exists as a part of lives of Chinese and overseas Chinese in modern society. The oriental images reproduced by Lee Ang showed mixture of tradition and modern. His films represented new Eastern images using visual and auditory means such as color, space, sound, lines in the narrative flow. It needs to be paid attention how hybrid identity and mixture of East and West will be changed in Lee Ang’s films.

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초록/요약

本论将文针对李安电影的东方形象进行分析。李安导演是活跃在好莱坞的著名华人导演，在成功进入好莱坞的经历背后是在台湾及美国接受教育并一直在美国居留。研究者评价他的电影将东西文化完美融合，并以中国人的视觉表现西方文化，这使他的电影在东方文化中占据重要的位置。本论文透视李安电影展现其特殊影响，第二章中着重描写李安的生平及美国居留期间的电影。第三章到第四章从其早期代表作品《推手》、《喜宴》、《饮食男女》及奥斯卡最佳外语片《卧虎藏龙》、展现情色艺术的《色,戒》等五部作品入手从视听角度展现东方形象。视觉印象从色彩、动作、空间、中国传统形象、形态分五节以电影理论为中心分析；色彩方面通过光影、明暗对比及制造象征性形象来体现人物微妙的变化、状况及氛围；空间同时间共同排列进行叙事；人物动作以长镜头、远拍为主完成静态形象表现；听觉形象从电影音乐、音响效果、台词三个角度分析。参与电影音乐制作的音乐家有来自法国的有来自中国的多国多样文化元素，即使在电影音乐方面也将东西方元素进行调和；音响效果则是通过沉默来展现人物内心精神世界变化。电影中多样化语言的应用为封闭的东方形象打开开放的空间。李安电影作品中频繁出现中国人及东方形象隐喻东方文化，李安电影中的中国人虽然在生活外形上已经西方化，但在传统意识却根深蒂固。现代社会的中国人及华人传统不是两极化分离而是存在于生活的细微处。在李安电影中体现的东方形象是传统和现代中和下的形象。李安电影在展开叙事中通过色彩、空间、音乐、台词等视听传输手段的利用来展现新的东方文化形象。 以后我们将继续关注如李安所说在多种元素下寻求认同，如何在电影世界里展现东西方文化融合。

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목차

Ⅰ. 서론 1
1. 연구의 필요성과 방법 1
(1) 연구의 필요성 1
(2) 연구 범위와 방법 3
2. 기존 연구 상황 4
(1) 중국의 연구 4
(2) 한국의 연구 10

Ⅱ. 리안의 필모그래피와 작품세계 14
1. 리안의 생애 및 영화 14
2. 디아스포라로서의 리안과 영화 23

Ⅲ. 리안 영화의 내러티브와 시각 이미지 28
1. 동양적 시각 이미지 29
2. 색채의 운용 31
(1) 원색 34
(2) 무채색 36
3. 인물들의 동작 41
(1) 캐릭터 설정과 동작 41
(2) 카메라 움직임과 동작 43
4. 공간의 운용 45
(1) 인공적 공간 : 밀폐형 공간 45
(2) 자연적 공간 : 개방형 공간 48
5. 회화 이미지 51
(1) 중국 전통 회화 53
(2) 중국 전통 문화 59
6. 형상 63
(1) 정적인 이미지 63
(2) 역동적 이미지 68

Ⅳ. 리안 영화의 내러티브와 청각 이미지 72
1. 동양적 청각 이미지 75
2. 영화 음악 77
(1) 음악가 77
(2) 노래 가사의 유무 80
3. 음향 효과 85
(1) 정적인 음향 85
① 침묵 85
② 소음 87
③ 인물 형상 89
④ 배경 음악 90
(2) 역동적 음향 93
4. 대사의 운용 98

Ⅴ. 결론 104

참고문헌 107

中文槪要 116
ABSTRACT 117

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