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The Big Sleep - Cinema and Modernism - Brochure PDF
The Big Sleep - Cinema and Modernism - Brochure PDF
The�Big�Sleep���Cinema�and�Modernism
2019��9��18��―�9��28�
목차 Contents
강연���영화와�모더니즘 Lecture��Cinema�and�Modernism
프로그램�1 8 Program�1 8
대지 Earth
‹칼리가리�박사의�밀실›� The Cabinet of Dr. Caligari 베를린��대도시�교향곡 Berlin: Symphony of a Great City
프로그램�4 16 Program�4 16
일시 2019��9��21���토��19�00 Date September�21��2019��Sat��19�00
보더라인
장소� 국립현대미술관�서울��필름앤비디오 Venue MMCA�Seoul��Film�&�Video
Borderline
프로그램�5 18 Program�5 18
프로그램�6 20 Program�6 20
프로그램�7 22 Program�7 22
강연 24 Lecture 24
스크리닝�+�라이브�뮤직 25 Screening�+�Live�Music 26
커버�이미지���‹어셔�가의�몰락›��장�엡스탱
Cover�Image���The Fall of the House of Usher��Jean�Epstein
2 3
상영�시간표 등급
Ⓖ�전체�관람가
자막�
Ⓚ�한국어��
Screening�Schedule Rating
Ⓖ�General
Subtitles
Ⓚ�Korean
수요일 목요일 금요일 토요일� 일요일 WED THU FRI SAT� SUN
9�18 19 20 21 22 9�18 19 20 21 22
15�00�ⓀⒺ⑫ 14�00�Ⓖ 14�00�Ⓚ⑫ 19�00�ⓀⒺ⑫ 14�00�ⓀⒺ⑫ 15�00�ⓀⒺ⑫� 14�00�Ⓖ 14�00�Ⓚ⑫ 19�00�ⓀⒺ⑫ 14�00�ⓀⒺ⑫
프로그램�1��77min� 프로그램�2��68min� 프로그램�4��73min� 프로그램�6��90min�� 프로그램�7��111min� Program�1��77min� Program�2��68min� Program�4��73min� Program�6��90min�� Program�7��111min�
�대지 �베를린��대도시�교향곡 �보더라인 �칼리가리�박사의�밀실 �아시아의�폭풍 �Earth �Berlin��Symphony�of� �Borderline �The�Cabinet�of�Dr��Caligari �Storm�over�Asia
��a�Great�City
16�00�ⓀⒺⒼ 16�30 스크리닝�+�라이브�뮤직 16�00�ⓀⒺ⑫ 16�30 Screening�+�Live�Music 16�00�ⓀⒺ⑫�
프로그램�3��68min� 강연 프로그램�1��77min� 16�00�ⓀⒺⒼ Lecture Program�1��77min�
�미소�짓는�마담�브데 영화와�모더니즘 �대지 Program�3��68min� Cinema�and�Modernism �Earth
�비 �The�Smiling�Madame�Beudet
�Rain
25 26 27 28 29 25 26 27 28 29
15�00�ⓀⒺⒼ� 14�00�ⓀⒺ⑫ 15�00�Ⓖ 15�00�ⓀⒺ⑫ 15�00�ⓀⒺⒼ� 14�00�ⓀⒺ⑫� 15�00�Ⓖ 15�00�ⓀⒺ⑫
프로그램�3��68min� 프로그램�5��59min� 프로그램�2��68min� 프로그램�5��59min� Program�3��68min� Program�5��59min� Program�2��68min� Program�5��59min�
�미소�짓는�마담�브데 �어셔�가의�몰락 �베를린��대도시�교향곡 �어셔�가의�몰락 �The�Smiling�Madame�Beudet �The�Fall�of�the�House�of�� �Berlin��Symphony�of� �The�Fall�of�the�House�of��
�비 �Rain �Usher ��a�Great�City �Usher
16�00�ⓀⒺ⑫ 18�30�ⓀⒺ⑫ 18�30�Ⓚ⑫
프로그램�6��76min�� 프로그램�7��111min� 프로그램�4��73min� 16�00�ⓀⒺ⑫ 18�30�ⓀⒺ⑫� 18�30�Ⓚ⑫
�칼리가리�박사의�밀실 �아시아의�폭풍 �보더라인 Program�6��76min�� Program�7��111min� Program�4��73min�
�The�Cabinet�of�Dr��Caligari �Storm�over�Asia �Borderline
4 5
위대한�잠��영화와�모더니즘 The�Big�Sleep��Cinema�and�Modernism
알렉산드르�도브젠코의�‹대지›는�몽타주�이론을� depiction�of�change�and�class�struggle�in�Ukrainian�
2�� �The�Cinema���잡지『예술』�뉴욕�에서�처음으로�소개��1926년�6월� 2��� �The�Cinema��in�Arts��New�York���June�1926�
발전시킨�소비에트�영화의�위대함을�확인하게�한다�� agrarian�society��reaffirm�the�greatness�of�Soviet�
네덜란드�다큐멘터리�영화의�선구자인�요리스�이벤스와� cinema�and�its�development�of�montage�theory��
Pioneering�Dutch�filmmaker�Joris�Ivens�and�
만누스�프란켄의�‹비›��독일�아방가르드�추상영화를�
Mannus�Franken�s�Rain and�Berlin: Symphony of
발전시킨�발터�루트만의�‹베를린��대도시�교향곡›에서는� a Great City��created�by�German�director�Walter�
도시의�시적�모자이크를�통해�당시의�풍속과�문화를� Ruttmann��a�key�figure�in�the�development�of�
엿볼�수�있다��또한�독일�표현주의�영화의�출발이자� avant�garde�abstract�film��use�poetic�urban�mosaics�
대지� Earth�
알렉산드르�도브젠코�|�소련�|�1930�|�77분�|�흑백�|�무성 Aleksandr�Dovzhenko�|�Soviet�Union�|�1930�|�77min�|�B&W�|�Silent�
수확을�앞둔�곡식이�풍성하게�익어가는�대지�위로� Wind�blows�over�a�land�covered�in�wheat�ripening�
바람이�분다��평생�동안�땅을�일구며�살아왔을�노인은� before�the�harvest��An�old�man��who�must�have�
spent�his�whole�life�tilling�the�earth��takes�his�last�
생의�마지막�사과를�한�입�베어�물며�기꺼이�죽음을�
bite�of�an�apple�as�he�welcomes�his�approaching�
맞이하고��다음�세대를�이어가듯�사과를�먹는�아이들의� death��his�image�is�replaced�with�that�of�children�
모습이�교차된다��자연과�노동��죽음과�순환에�관한� eating�apples��as�if�to�show�the�passing�of�one�
시적인�이미지로�시작하는�알렉산드르�도브젠코의� generation�to�another��With�its�poetic�opening�
images�of�nature��labor�and�cycles�of�death�and�
‹대지›는�러시아�영화의�예술성이�절정에�이르렀던�
life��Alecksandr�Dovzhenko�s�Earth�is�a�key�work�
초기�무성시대의�대표작�중�한�편이다��‹즈베니고라›�� from�the�age�of�early�silent�film��when�Russian�
‹병기고›와�함께��우크라이나�3부작�으로�불리는�영화는� cinema�reached�an�artistic�peak��Forming�part�
우크라이나의�집단농장을�배경으로�새로운�영농법을� of�Dovzhenko�s�so�called�Ukraine�Trilogy��along�
받아들이고자�하는�농민들과�이를�저지하려는�지주의� with�Zvenigora�and�Arsenal��Earth�is�set�in�a�
Ukrainian�collective�farm�and�depicts�conflict�
갈등을�담고�있다��이들의�갈등은�앞장�서�변화를�
between�peasants�trying�to�adopt�new�farming�
주장하던�청년이�새로운�농경방식을�상징하는�트랙터를� methods�and�landowners�trying�to�stop�them��
몰고�옛�것으로�대표되는�울타리를�밀어버리는� This�conflict�reaches�its�peak�in�the�scene�when�
장면에서�극에�달한다��이어지는�장면에서는�트랙터로� a�young�man�leading�the�call�for�change�uses�a�
tractor��symbolizing�new�farming�techniques��to�
수확한�볏단을�신속하게�묶는�농민들의�모습이�경쾌한�
bulldoze�down�a�fence��representing�the�old�order��
리듬감�속에�반복적으로�등장하고�있으며��기계화되고� The�following�scenes�show�peasants�repeatedly�
집단화된�새로운�시대가�왔음을�상징적으로�보여준다�� gathering�armfuls�of�wheat�harvested�by�the�tractor�
영화는�이렇듯�계급간의�갈등��낡은�것과�새�것의� and�quickly�tying�them�into�sheafs��accompanied�
by�an�upbeat�rhythm��symbolizing�the�arrival�of�
충돌을�다루지만�동시에�처음과�끝��반복해서�보이는�
a�new�era�of�mechanization�and�collectivization��
죽음과�또�다른�생명의�이어짐을�통해�땅이�지닌� In�this�way��the�film�depicts�class�conflict�and�
생명력과�순환하는�자연의�영원성��그�속에서�함께� clashes�between�old�and�new��But�it�also�uses�
살아온�민중들의�저력��그리고�우크라이나�대자연의� the�constant�cycle�of�beginnings�and�ends��and�
아름다움에�대해�탐구한다��이미지의�충돌을�통해� of�repeated�death�and�rebirth��to�explore�the�life�
force�of�the�earth��the�eternity�of�nature��the�power�
의미를�극대화했던�동시대�여타의�러시아�영화와�
of�the�people�who�live�within�it��and�the�beauty�of�
구분되는�느리고�서정적이며�시적인�도브젠코의�영화는� Ukraine�s�natural�landscapes��Unlike�other�Russian�
당시�사회주의�영화의�흐름에는�맞지�않는다는�비판을� films�of�its�time��which�created�image�clashes�
받기도�했다��하지만�영화예술의�본질을�탐구하려는� to�generate�maximum�meaning��Dovzhenko�s�
film�is�slow��lyrical�and�poetic��prompting�some�
그의�세계는�이후�러시아�영화사에�지대한�영향을�
to�criticize�it�as�out�of�place�amid�the�socialist�
미쳤으며�안드레이�타르코프스키��알렉산드르�소쿠로프� cinematic�trends�of�its�time��But�his�world�and�its�
등의�세계로�이어졌다��� explorations�of�the�essence�of�cinematic�art�went�
on�to�exert�huge�influence�in�the�history�of�Russian�
film��leading�into�those�of�Andrei�Tarkovsky�and�
-�모은영��부천국제판타스틱영화제�프로그래머�
Alexander�Sokurov��
-�Eunyoung�Mo��Programmer��
Bucheon�International�Fantastic�Film�Festival�
음악�� 비아체슬라프�오브치니코프
Music�by�� Vyacheslav�Ovchinnikov
✽Image�Courtesy�of�Films�sans�Frontières
프로그램�1�Program�1��77min� 8 프로그램�1�Program�1��77min� 9
베를린��대도시�교향곡 Berlin��Symphony�of�a�Great�City�
발터�루트만�|�독일�|�1927�|�68min�|�흑백�|�무성 Walter�Ruttmann�|�Germany�|�1927�|�68min�|�B&W�|�Silent
프로그램�2�Program�2��68min� 10 프로그램�2�Program�2��68min� 11
미소�짓는�마담�브데 The�Smiling�Madame�Beudet
제르멘느�뒬락�|�프랑스�|�1923�|�54분�|�흑백�|�무성 Germaine�Dulac�|�France�|�1923�|�54min�|�B&W�|�Silent�
-�Sook�Hyun�Kim��Filmmaker��
음악�� 갈레쉬카�모라비오프
Music�by�� Galeshka�Moravioff
프로그램�3�Program�3��68min� 12 프로그램�3�Program�3��68min� 13
비 Rain
만누스�프란켄��요리스�이벤스�|�네덜란드�|�1929�|�14분�|�흑백�|�무성 Mannus�Franken��Joris�Ivens�|�The�Netherlands�|�1929�|�14min�|�B&W�|�
Silent
만누스�프란켄과�요리스�이벤스가�공동으로� Co�directed�by�Mannus�Franken�and�Joris�Ivens��
연출한�‹비›는�비가�내리기�시작한�후�멈추기까지�� Rain�is�an�avant�garde�documentary�film�which�
portrays�Amsterdam�and�its�landscape�in�an�
암스테르담의�어느�날�오후�풍경을�촬영한�아방가르드�
afternoon�before��during�and�after�a�rain�shower��
다큐멘터리다��프란켄과�이벤스는�영화예술이�제시하는� Franken�and�Ivens�made�two�films�Rain�and�
새로운�가능성을�찾고자�했던�필름리그�1927�1933�의� Breakers�together��Both�were�a�member�of�Filmliga�
멤버로서�두�편의�영화�‹비›와�‹파도›를�함께�만들었다�� �1927�1933��which�sought�new�possibilities�in�
filmmaking��Filmliga�published�De Filmliga�to�raise�
필름리그는�미국의�엔터테인먼트�영화에�맞서�
public�awareness�about�experimental�avant�garde�
실험적인�아방가르드�영화를�대중에게�알리고자�잡지� film��as�opposed�to�popular�American�style�feature�
『필름리그』를�출판하기도�했다� movies��
‹비›는�발터�루트만의�‹베를린��대도시�교향곡›��지가� Rain�was�certainly�influenced�by�City�Symphonies�
produced�in�Europe�and�US��mostly�in�the�1920s�
베르토프의�‹카메라를�든�사나이›�등�1920년대�유럽과�
such�as�Berlin: Symphony of a Great City�by�Walter�
미국에서�만들어진��시티�심포니��영화의�영향으로� Ruttmann�and�Man with a Movie Camera�by�Dziga�
제작되었다��1920년대�도시의�건축��문화��풍속�등을� Vertov��However��while�in�many�City�Symphonies�
포착한�쇼트들이�전진하는�리듬에�맞춰�연결되는� rhythmic�montage�of�images�capturing�urban�
architecture��culture��and�custom�echoes�the�
방식의��시티�심포니��영화와�달리��‹비›는�알베르토�
beats�of�progress��Rain�focuses�more�on�poetic�
카발칸티의�‹오직�시간만이›�1926�에서처럼�시적� impressions�like�Nothing But Time��1926��by�Alberto�
인상을�남기는��시티�심포니��영화라�할�수�있다�� Cavalcanti��The�overall�rhythm�of�Rain�is�composed�
영화는�오로지�흐르는�빗물에�의해�점령당한�공간에� only�of�impressions�of�the�space�occupied�by�the�
rain�and�this�approach�to�the�reality�of�the�city�
대한�인상만으로�전체�리듬을�만들어나간다��도시의�
drew�some�criticism�at�that�time��A�man�adjusts�
리얼리티에�접근하는�이러한�방식은�당시�비평�대상이� his�coat�after�feeling�raindrops�on�his�hand��ripples�
되기도�했다��손바닥에�떨어진�빗방울을�바라보고� caused�by�raindrops�spread��a�bird�s�eye�view�of�a�
코트�깃을�여미는�신사��물�위로�떨어지는�빗방울의� square�crowded�with�umbrellas��as�we�watch�these�
파문��우산을�든�군중으로�가득한�광장의�부감에서�볼� images��the�specificity�of�the�city�of�Amsterdam�
becomes�abstract�‒�an�anonymous�space�where�
수�있듯이�암스테르담이라는�도시의�특수성은�익명의�
anonymous�people�pass�by��The�editing�that�
사람들이�지나가는�익명의�공간으로�추상화되었다�� repeats�the�shots�of�raindrops�running�down�
차창�유리에�흐르거나�난간에�맺혀�있다�떨어지는�빗물� the�car�windows�and�forming�then�falling�from�
등이�반복적으로�등장하는�편집�리듬은�도시�공간이� guardrails��produces�a�rhythm�that�obscures�all�the�
information�that�the�city�might�hold�about�those�
내포하고�있을�시대의�정보들을�덮어버리며��자연의�
times��The�pure�movement�of�nature�becomes�the�
순수한�움직임�그�자체를�영화의�주인공으로�만든다�� main�protagonist�of�the�film��Thus��poetic�rhythms�
따라서�순간에�내포된�자연의�리듬��움직임의�포착이� in�continuous�movements��moment�to�moment�
연속되는�시적�리듬은�이미지의�즉각적인�인상을� rhythms�inherent�in�nature��are�materialized�within�
the�aesthetics�of�form�which�express�an�immediate�
발산하는�형식미로�구현된다�
impression�of�an�image������
-�김은희��국립현대미술관�학예연구사� -�Eunhee�Kim��Curator��National�Museum�of�
Modern�and�Contemporary�Art��Korea�
음악�� 한스�아이슬러
Music�by�� Hanns�Eisler
✽Image�Courtesy�of�Tamasa�Distribution�Mannus�Franken�Foundation�Eye�Filmmuseum
프로그램�3�Program�3��68min� 14 프로그램�3�Program�3��68min� 15
보더라인 Borderline
케네스�맥퍼슨�|�영국�|�1930�|�73분�|�흑백�|�무성 Kenneth�Macpherson�|�United�Kingdom�|�1930�|�73min�|�B&W�|�Silent
케네스�맥퍼슨1��브라이어2��힐다�둘리틀�H�D��3이� Kenneth�Macpherson1��Bryher2��and�Hilda�Doolittle�
1927년에�스위스에서�결성한��더�풀�그룹�은�문학과� aka�H�D�3�formed�The�Pool�Group�in�Switzerland�
in�1927��They�carried�out�artistic�experimentation�
아방가르드�영화에서�새로운�예술적�실험을�시도했다��
embracing�avant�garde�cinema�and�literature�and�
이들은�월간지『클로즈�업』을�창간해�현대적�사고와� also�produced�a�monthly�magazine�Close Up�to�lead�
새로운�흐름을�선도하고자�했다��이�잡지는�당시에� contemporary�thinking�and�new�streams��Close Up�
예술로서의�영화를�고찰하고�소개하는�데�주력한4� was�the�only�magazine�devoted�to�introducing�and�
complementing�film�as�an�art�form4��Borderline�was�
유일한�잡지였다��‹보더라인›은�더�풀�그룹이�제작한�
the�first�film�production�by�Pool�and�was�thought�
첫�번째�영화로서�필름이�소실된�것으로�알려졌으나� to�be�lost�until�a�16mm�copy�of�the�film�was�
스위스�필름�아카이브가�보관�중인�16mm�필름이� discovered�in�1983��held�in�the�Swiss�Film�Archive��
1983년에�발견되었고��2006년에�영국영화협회�BFI�의� The�British�Film�Institute�sponsored�this�film�s�
후원을�받아�조지�이스트만�하우스가�복원했다�� restoration�by�George�Eastman�House�in�2006���
영화는�향락을�즐기는�관대한�성품의�주인이�운영하는�
Borderline�portrays�the�hard�border�of�racial�
prejudices�which�is�faced�in�a�tragic�drama�with�
게스트하우스에�머물고�있는�흑인�커플과�백인� an�inter�racial�love�triangle��The�story�revolves�
커플이�삼각관계로�엮이는�비극적�드라마�속에서� around�a�guesthouse�run�by�generous�hedonistic�
예외�없이�마주치게�되는�인종적�편견의�견고한�벽을� owners�and�involves�two�couples�-�one�black�and�
one�white��Influenced�by�Freud�s�psychoanalysis�
보여준다��케네스�맥퍼슨은�프로이트의�정신분석학과�
and�Sergei�Eisenstein�s�montage�theory��Kenneth�
에이젠슈테인의�몽타주�이론에�영향을�받아�섬세한� Macpherson�uses�subtle�gestures�and�extreme� ✽Image�Courtesy�of�George�Eastman�Museum
제스처��얼굴과�사물의�강렬한�클로즈업�등을�사용해� close�ups�of�faces�and�objects�to�represent�
무기력과�분노��소외와�불안이�뒤섞이는�심리적� psychological�nuance�in�which�lethargy��anger��
isolation��and�anxiety�are�all�mingled��The�strong�
뉘앙스를�재현한다��인물들의�내면에�간직된�정서의�
emotions�held�inside�by�the�protagonist��which�
힘은�쇼트의�함축과�비약을�통해�인물의�시선이� are�expressed�through�overtones�in�shots�and�
향하는�지점을�추상적으로�만들면서�공간의�현실성을� jump�cuts��transform�the�physical�points�on�which�
뛰어넘는다��실제�부부였던�폴�로비슨5과�에스란다� protagonists��eyes�fall�into�the�abstract�beyond� 1 스코틀랜드�출신의�소설가��사진작가이자�영화감독이다��아방가르드� 1 Scottish�born�novelist��photographer��and�filmmaker��He�
로비슨6이�흑인�커플을�연기하고��힐다�둘리틀과� spatial�reality��The�film�stars�Paul�Robeson5�and� 실험영화의�기법으로�심리적�양상을�미세한�제스처로�탁월하게� brilliantly�captured�human�psychological�states�with�subtle�
his�wife�Eslanda�Goode�Robeson6�as�a�couple�and�� 표현했다� gestures��using�avant�garde�experimental�film�making�
브라이어�역시�영화에�등장하면서�이�작품이�그룹의�
as�they�appear�together�in�it��it�is�clearly�a�result� techniques��
협업�작품임을�알�수�있게�한다�� of�the�collaboration�between�Bryher�and�Hilda� 2��� 영국의�시인이자�소설가이며�잡지�편집장으로�활동했다��동성애자인�
Doolittle� 브라이어는�아버지에게서�물려받은�재력을�바탕으로�조이스를� 2��� A�pen�name�of�Annie�Winifred�Ellerman�who�was�a�British�
비롯한�많은�작가들을�후원했다�� novelist�and�magazine�editor��With�her�wealth��she�gave�
-�김은희��국립현대미술관�학예연구사�
-�Eunhee�Kim��Curator��National�Museum�of� financial�support�to�many�writers�including�James�Joyce�
Modern�and�Contemporary�Art��Korea� 3 미국의�시인이자�소설가이다��그리스�신화와�고전시에�영감을�받은�
시를�발표했으며��양성애자로서�LGBT의�권리와�페미니스트�운동에� 3 American�poet�and�novelist��Her�poetry�was�often�inspired�
적극적으로�참여했다� by�Greek�mythology�and�classical�poems��She�was�bisexual�
and�active�in�both�the�LGBT�rights�and�feminist�movements���
4 『열�번째�뮤즈��모더니스트�시기의�영화에�대한�글쓰기』��
로라�마커스��옥스퍼드�대학교�출판��2007년��16쪽� 4 Laura�Marcus��The Tenth Muse : Writing about Cinema in the
Modernist Period��New�York��Oxford�University�Press��2007���
5 미국의�바리톤�가수로서�성공을�거둔�뮤지컬�‹쇼보트›를�비롯해� 16�
오델로�등을�연기하며�명성을�얻지만�정치적�활동이�문제가�되어�
맥카시즘�시대에는�블랙리스트에�올랐다�� 5 American�baritone�singer��He�became�world�famous�in�
successful�musical�plays�at�that�time�including�Othello�and�
6 미국의�인류학자이자�작가��배우이다� Show�Boat��however��his�political�activism�caused�him�to�
be�blacklisted�during�the�McCarthy�era��
6 American�anthropologist��author��and�actor��
프로그램�4�Program�4��73min� 16 프로그램�4�Program�4��73min� 17
어셔�가의�몰락� The�Fall�of�the�House�of�Usher�
장�엡스탱�|�프랑스�|�1928�|�59분�|�흑백�|�무성� Jean�Epstein�|�France�|�1928�|�59min�|�B&W�|�Silent�
음악�� 가브리엘�티보도�&�옥튀오르�드�프랑스
Music�by�� Gabriel�Thibaudeau�&�L�Octuor�de�France
✽Image�Courtesy�of�Films�sans�Frontières
프로그램�5�Program�5��59min� 18 프로그램�5�Program�5��59min� 19
칼리가리�박사의�밀실� The�Cabinet�of�Dr��Caligari
로베르트�비네�|�독일�|�1920�|�76분�|�흑백�|�무성 Robert�Wiene�|�Germany�|�1920�|�76min�|�B&W�|�Silent
This�film�makes�use�of�a�frame�story�which�begins�
영화는�주인공�프란시스가�자신이�겪은�기괴한�일을�
with�Francis��the�main�protagonist��recounting�a�
이야기하는�액자구성�양식을�취한다��프란시스는� horrific�event�that�he�experienced��In�his�story��
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doctor�controls�hypnotically��Francis�discovers�that�
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불과했던�것이다��영화는�표현주의의�과장된�양식으로� paranoia�is�merely�a�creation�of�Francis�s�delusion��
프란시스의�현실이�아닌�환상과�정신병을�담는다�� This�film�captures�not�Francis�s�reality�but�his�
delusion�and�mental�illness�in�an�exaggerated�
모호한�상징적�갈등��플래시백��불안한�화면구성��
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인간의�신비하고�어두운�내면성을�그려내는�것이다�� layered�stories�and�narration��dramatized�facial�
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the�dark�mysterious�inner�world�of�humans��This�
상태를�반영한�것으로�평가된다��
is�considered�by�many�theorists�to�be�a�reflection�
of�the�unstable�psychology�of�the�German�people�
-�김숙현��영화감독� immediately�after�World�War�I����
-�Sook�Hyun�Kim��Filmmaker� ✽Image�Courtesy�of�Friedrich�Wilhelm�Murnau�Stiftung
*�2019년�9월�21일에는�라이브�프리�재즈�공연과�함께� *�Screening�to�be�accompanied�by�a�live�free�jazz���
��score�on�September�21��2019�
�상영됩니다�
프로그램�6�Program�6��76min� 20 프로그램�6�Program�6��76min� 21
아시아의�폭풍 Storm�over�Asia� ✽Image�Courtesy�of�Films�sans�Frontières
프세볼로트�푸도프킨�|�소련�|�1928�|�111분�|�흑백�|�무성 Vsevolod�Pudovkin�|�Soviet�Union�|�1928�|�111min�|�B&W�|�Silent
영웅은�새로운�시대를�열지만�시대�역시�새로운�영웅의� Heroes�open�new�eras��but�eras��too��long�for�the�
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지배하에�놓인�혼돈의�시기를�배경으로�한�프세볼로트�
over Asia�is�set�in�a�Mongolia�in�a�period�of�turmoil�
under�the�yoke�of�British�imperialism��It�tells�the�
푸도프킨의�‹아시아의�폭풍›은�유목민�청년이�제국에� story�of�a�young�nomad�who�is�almost�made�into�
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맞서는�영웅으로�거듭나는�과정을�그린�영화다��이반� fighting�against�them�and�becoming�reinvented�
as�a�hero��Based�on�a�novel�by�Ivan�Novokshonov��
노보크쇼노프의�소설을�원작으로�한�영화는�고귀한�
the�film�is�both�an�epic�tale�of�the�growth�of�a�
신분을�가졌으나�이를�알지�못한�평범한�청년이�온갖� young�man��previously�unaware�of�his�high�status��
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내고��이를�통해�관객의�심리를�움직이게�하는�몽타주로� sequence�to�create�meaning�and�emotion��moving�
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technique�elicits�natural�audience�responses�to�
주인공이�겪는�고난과�심리에�관객이�자연스럽게�
the�hardships�and�emotions�experienced�by�the�
호응하도록�만든다��죽음�직전에�구조되어�백인들에� protagonist�throughout�the�film��Typical�examples�
의해�수술을�받고�꼭두각시처럼�된�그의�모습을�부서진� are�the�scene�in�which�the�image�of�the�hero�being�
어항�밖에서�헐떡이는�물고기와�대조해서�보여주는� saved��operated�on�by�white�people�and�made�
장면��마침내�백인들에게�맞서며�칼을�빼든�그의�모습과� into�a�puppet�are�contrasted�with�that�of�a�fish�
gasping�for�air�outside�a�smashed�fish�bowl��or�that�
어둠�속에서�번쩍이는�칼을�차례로�보여주는�장면�
in�which�the�image�of�the�hero�finally�drawing�his�
등이�대표적이다��관객의�심리를�자연스럽게�따라가는� sword�against�the�white�people�alternates�with�
이러한�형식은�그리피스�이후의�할리우드�영화와� that�of�a�sword�glittering�in�the�darkness��This�type�
자연스럽게�조우하기도�했다��영화의�제목처럼�광활한� of�natural�following�of�the�audience�s�emotions�
also�met�naturally�with�Hollywood�films�after�D��
사막을�폭풍처럼�휘몰아치는�마지막�장면은�다양한�
W��Griffith��The�final�scene��in�which�stormy�winds�
영화적�언어를�찾아가던�시기에서�단연�최고의�명장면� sweep�across�a�huge�desert��echoing�the�title�of�the�
중�하나다��� firm��is�surely�one�of�the�greatest�scenes�from�this�
age�and�its�search�for�various�cinematic�languages��
-�모은영��부천국제판타스틱영화제�프로그래머�
-�Eunyoung�Mo��Programmer��
���Bucheon�International�Fantastic�Film�Festival�
음악�� 갈레쉬카�모라비오프
Music�by�� Galeshka�Moravioff
프로그램�7�Program�7��111min� 22 프로그램�7�Program�7��111min� 23
강연��영화와�모더니즘 Lecture��Cinema�and�Modernism� 스크리닝�+�라이브�뮤직��‹칼리가리�박사의�밀실›
25
Screening�+�Live�Music��The Cabinet of Dr. Caligari 큐레이터 김은희
진행� 전하영
Performer Sound�Director
편집� 권정현
ChangHyun�Kim��Bass�
Curated�by� Kim�Eunhee
ChangHyun�Kim�won�two�prizes�at�the�Korean�
Music�Awards��and�since�then�has�released�a� Coordinated�by Jeon�Hayoung
number�of�albums�including�Too Soon Too Late,
When I Walk with You��Unbalanced Beauty��Jan-hyang�� Edited�by Kwon�Junghyun
Mang-gak��Hae-che��and�Gwan-nyeom��His�album�
Reviewed�by Kim�Sook�Hyun��
entitled Mang-gak�received�the�top�prize�for�Jazz�&�
Kim�Eunhee��Mo�Eunyoung
Crossover�Performance�at�the�Korean�Music�Awards�
in�2015������� Translated�by Shon�Seihee��Ben�Jackson
Technical�Manager� Ryu�Wonkyu
Sunki�Kim��Drum�
Graphic�Design Kim�Eunji��ant�graphics�
Sunki�Kim�made�his�debut�in�2013��He�began�his�
career�with�a�jazz�trio�Gonia�and�since�then�he�has�
been�involved�in�a�variety�of�works��Through�his�
participation�in�Bassist�ChangHyun�Kim�s�album�
Hae-che and�in�Jun�Kim�s�Cosmic Aesthetic�in�2017��
he�has�delivered�new�avant�garde�drumming�
techniques��His�first�ever�regular�album�called�
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26 ᅠ27
관람시간 국립현대미술관�서울�
월��화��수��목��일��10am―6pm 03062�서울시�종로구�삼청로�30�
금��토��10am―9pm 02�3701�9500
MMCA필름앤비디오�관람시간 National�Museum�of�Modern�and�Contemporary�Art��Seoul
수��목��일��10am―6pm 03062�30��Samcheong�ro��Jongno�gu��Seoul��Korea
금��토��10am―9pm +82�2�3701�9500
입장료 www�mmca�go�kr�filmandvideo
서울관�통합관람권��4�000원 www�mmca�go�kr�mmcachannel
대학생�및�만�24세�이하�또는�만�65세�이상�무료 twitter�com�mmcakorea
금��토�야간개장�시�무료관람�6pm―9pm� instagram�com�mmcakorea
facebook�com�mmcakorea
주차 youtube�com�mmcakorea
운영시간�매일���8am―11pm tv�naver�com�mmca
시간당�2�000원
주최�국립현대미술관
Opening�Hours
Mon��Tue��Wed��Thu��Sun��10am―6pm
Fri��Sat��10am―9pm
MMCA�Film�&�Video�Opening�Hours
Wed��Thu��Sun��10am―6pm
Fri��Sat��10am―9pm
Admission�Fee
Entrance�Ticket��4�000�won
Under�24s�or�over�65s��Free
Free�admission�every�Friday�&�
Saturday�from�6pm―9pm
Parking
Daily�Hours��8am―11pm
2�000�won�per�hour
Organized�by
National�Museum�of�Modern�and�
Contemporary�Art��Korea