학술논문
리더필름과 엔딩 크레딧을 중심으로 한 영화의 경계 해체에 관한 고찰: 조던 필의 <놉>과 홍상수의 <소설가의 영화>를 중심으로
A Study on Deconstructing Boundaries of Films with a Focus on Leader Film and End Credits: Focusing on Jordan Peele’s NOPE and Hong Sang-soo’s The Novelist’s Film
A Study on Deconstructing Boundaries of Films with a Focus on Leader Film and End Credits: Focusing on Jordan Peele’s NOPE and Hong Sang-soo’s The Novelist’s Film
Document Type
Article
Author
Source
현대영화연구. Oct 31, 2023 50:55
Subject
Language
Korean
English
English
ISSN
1975-5082
Abstract
이 글은 리더필름과 엔딩 크레딧이 영화의 경계로서 기능하고 있음에 주목하고, 이를 바탕으로 최근의 두 영화에서 나타난 영화의 경계 해체 현상을 분석한다. 먼저, 리더필름과 엔딩 크레딧이 영화 내에서 각각 시작 지점과 종료 지점에 자리하며 하나의 영화를 구획하는 경계로 기능하고 있을 뿐만 아니라 영화 속 가상 세계와 일상의 현실 세계를 구분하는 동시에 연결하는 경계로 기능하고 있는 지점을 살펴보았다. 이를 통해 이들의 역할이 빛과 소음을 차단하는 영화관에서 관객들의 관람 태도를 조정하게 함으로써 중요하게 작용함을 밝혔다. 따라서 이들의 자리는 결코 변한 적이 없는데, 2022년에 개봉한 조던 필의 <놉>과 홍상수의 <소설가의 영화>에서는 각각 리더필름과 엔딩 크레딧이 기존의 자리를 벗어난 채로 나타난다. 이는 자신을 둘러싼 경계를 해체하려는 영화의 시도로써 영화가 영화관을 벗어나 온라인으로 거처를 옮긴 것과 무관하지 않다. 이어서 2000년대 할리우드 블록버스터 영화의 쿠키 영상의 활용 전략을 영화의 경계 해체의 앞선 사례로서 살펴보고, 2010년대 OTT 플랫폼의 등장으로 인해 나타난 ‘몰아보기’현상을 살펴봄으로써 변화된 미디어 환경 속에서 개별 영화들이 점점 더 분절되고 분할된 형태로 등장하게 되었음을 밝혔다. 이처럼 영화가 자신의 경계를 해체하고 ‘하나의 전체’가 아닌 ‘전체의 부분’으로 나타나는 것은 강력한 몰입 대신 연결을 유지하는 것이 더 중요해진 오늘날, 관객의 ‘보기’를 지속하기 위한 포스트 시네마의 전략이라고 할 수 있다.
This study focuses on the function of the Leader film and End credits as boundaries in movies and analyzes the phenomenon of deconstructing boundaries in two recent films. First, it observed that the leader film and end credits not only function as boundaries delineating the beginning and end of a movie but also serve as thresholds that both separate and connect the fictional world of the film and the real world of daily life. Through this, it was revealed that their roles significantly influence by adjusting the audience’s viewing attitude in a cinema that blocks light and noise. Despite their unchanging positions traditionally, in Jordan Peele’s NOPE and Hong Sang-soo’s The Novelist’s Film, the leader film and end credits are displaced from their conventional positions. This shift is related to films’ attempts to deconstruct the boundaries, reflecting the migration of the cinema from movie theaters to online platforms. By examining the strategic use of post-credit scenes in Hollywood blockbuster movies from the 2000s as a precursor to boundary dissolution and the phenomenon of ‘binge-watching’ brought about by the emergence of OTT platforms in the 2010s, it has been highlighted that individual films increasingly appear in more segmented and divided forms within the evolving media environment. Therefore, the dismantling of a movie’s boundaries and its presentation not as a ‘singular whole’ but as a ‘part of the entirety’ can be viewed as a post-cinematic strategy aimed at maintaining continuous engagement over deep immersion in today’s context, where sustaining the audience’s act of watching becomes paramount.
This study focuses on the function of the Leader film and End credits as boundaries in movies and analyzes the phenomenon of deconstructing boundaries in two recent films. First, it observed that the leader film and end credits not only function as boundaries delineating the beginning and end of a movie but also serve as thresholds that both separate and connect the fictional world of the film and the real world of daily life. Through this, it was revealed that their roles significantly influence by adjusting the audience’s viewing attitude in a cinema that blocks light and noise. Despite their unchanging positions traditionally, in Jordan Peele’s NOPE and Hong Sang-soo’s The Novelist’s Film, the leader film and end credits are displaced from their conventional positions. This shift is related to films’ attempts to deconstruct the boundaries, reflecting the migration of the cinema from movie theaters to online platforms. By examining the strategic use of post-credit scenes in Hollywood blockbuster movies from the 2000s as a precursor to boundary dissolution and the phenomenon of ‘binge-watching’ brought about by the emergence of OTT platforms in the 2010s, it has been highlighted that individual films increasingly appear in more segmented and divided forms within the evolving media environment. Therefore, the dismantling of a movie’s boundaries and its presentation not as a ‘singular whole’ but as a ‘part of the entirety’ can be viewed as a post-cinematic strategy aimed at maintaining continuous engagement over deep immersion in today’s context, where sustaining the audience’s act of watching becomes paramount.