• 만화애니메이션 연구
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• 통권13호
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• pp.199-210
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• 2008

이 논문은 프랑스의 장편 애니메이션 르네상스의 미학적 분석을 시도한다. 애니메이션은 '이미지 서사'이므로, 이미지만을 분석하거나 또는 이미지와 무관한 이야기만을 분석할 수 없다. 따라서 이 논문에서는 작품 분석의 하나의 표본으로써, 작품제작의 콘텍스트와 스토리 라인, 이미지의 특성들, 내용적 측면에서의 특성들, 그리고 이를 모두 포괄하는 미학적 특성들이라는 측면으로 접근하려 한다. 이러한 순차적인 접근은 하나의 작품을 평가하는 데 있어서 어떤 부분이 어떤 식으로 탁월하거나 또는 반복적이라는 점을 지적함으로써 작품에 대한 전체적인 평가를 허용한다. 마지막으로, 이러한 접근 방식이 지니는 한계점에 대해서도 지적한다.

• 인문언어
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• 제1권2호
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• pp.179-196
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• 2001

According to Formalist theory, form is not separate from content. Form does not merely convey or express content but can itself produce meaning. The close correlation of the narrative structure, more specifically the time structure of the narrative, and the narrative style of Kim Seung-Ok′s short story′"Travel in Mujin" provides a good example of this argument. The story opens with the first-person narrator, currently living in the bustling city of Seoul, back in his small provincial home town Mujin, where he brings up memories that had been hitherto suppressed. The revived memories are ordered into the narrator′s present thought structure, in effect bridging the vast psychological rift between the lost past and the present. The narrator′s travel in Mujin thus becomes a psychological journey, and Mujin becomes a psychological space where the narrator can experience the continuity of his own being. The "narrating I" excludes the principles of reality from his narrative, concentrating on the inner thoughts, recollections, psychological experience, and the level of consciousness of the "narrated I." This narrative attitude or style expresses the narrator-protagonist′s acceptance and affirmation of the thoughts and actions occur in Mujin (which he had till now been resistant to). It is also an affirmation of the narrative act itself. Before the travel back to Mujin, the narrator-protagonist′s thoughts about his home town was ambivalent-an attitude originating from nostalgia, together with the narrator-protagonist′s ambivalent attitude toward his youthful past. It is a reflection of the narrator-protagonist′s desire for purity intermingled with a disdain for his enervated existence in Seoul. This ambivalence is resolved by the "I" of the narrative present, and Mujin enables him to come to a renewed affirmation of his life.