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위대한�잠���영화와�모더니즘

The�Big�Sleep���Cinema�and�Modernism
2019��9��18��―�9��28�
목차 Contents
강연���영화와�모더니즘 Lecture��Cinema�and�Modernism

강연자 로라�마커스 Lecturer Laura�Marcus�


상영시간표 4 Screening�Schedule 5

일시 2019��9��20���금��16�30 Date September�20��2019��Fri��16�30


장소� 국립현대미술관�서울��필름앤비디오 Venue MMCA�Seoul��Film�&�Video 서문 6 Introduction 7

프로그램�1 8 Program�1 8

대지 Earth

스크리닝�+�라이브�뮤직� Screening�+�Live�Music�� 프로그램�2 10 Program�2 11

‹칼리가리�박사의�밀실›� The Cabinet of Dr. Caligari 베를린��대도시�교향곡 Berlin: Symphony of a Great City

연주자 준킴��김창현��김선기 Performer Jun�Kim��ChangHyun�Kim� 프로그램�3 12 Program�3 12

Sunki�Kim 미소�짓는�마담�브데 The Smiling Madame Beudet


사운드� 채승균 비 Rain
디렉터 Sound�Director Scott�Chae

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

어셔�가의�몰락� The Fall of the House of Usher

프로그램�6 20 Program�6 20

칼리가리�박사의�밀실 The Cabinet of Dr. Caligari

프로그램�7 22 Program�7 22

아시아의�폭풍 Storm over Asia

강연 24 Lecture 24

영화와�모더니즘� Cinema and Modernism

스크리닝�+�라이브�뮤직 25 Screening�+�Live�Music 26

칼리가리�박사의�밀실 The Cabinet of Dr. Caligari

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

2019��9��18��―�9��28� ⑫�12세�이상�관람가����� Ⓔ�영어�


2019��9��18��―�9��28� ⑫�Under�12�not�admitted Ⓔ�English

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

작년부터�선보인�MMCA필름앤비디오의�정규�상영� 가장�중요한�작품�중�하나인�로베르트�비네의�‹칼리가리� Launched�by�MMCA�last�year��The Big Sleep�is�a� to�offer�glimpses�of�their�respective�contemporary�


프로그램��위대한�잠�은�특정�주제에�대한�강연과� 박사의�밀실›은�라이브�프리�재즈�연주와�함께�상영된다�� regular�film�and�video�program�combining�themed� customs�and�cultures��Robert�Wienne�s�The
lectures�and�screenings��Its�aim�is�to�introduce� Cabinet of Dr. Caligari��the�first�and�one�of�the�
상영을�결합한�프로그램으로��영화이론과�비평��인문학� 케네스�맥퍼슨��브라이어��힐다�둘리틀이�1927년에�
works�that�raised�new�possibilities�in�film�arts��are� most�important�works�in�German�expressionist�
연구의�흐름�안에서�영화예술의�새로운�가능성을� 결성한��더�풀�그룹�이�제작한�영화�‹보더라인›은� of�key�importance�in�cinematic�history�or�remain� cinema��is�screened�to�the�accompaniment�of�a�
제시한�작품과�영화사적으로�중요하지만�국내에� 2006년�복원�버전으로�국내에서는�처음으로�소개된다� unknown�in�Korea��and�restored�masterpieces�� live�free�jazz�score��while�the�2006�restored�version�
소개되지�않은�작품��또는�복원된�걸작�등을�상영하고자� within�a�context�of�theory��criticism�and�study�of� of�Borderline��the�work�of�the�Pool�Group��formed�
the�humanities��This�year��The Big Sleep�reconsiders� in�1927�by�Kenneth�Macpherson��Bryher�and�Hildo�
한다��올해��위대한�잠�은�문화적�양식으로서의�
the�relationship�between�modernism�and�cinema�� Doolittle��receives�its�Korean�premiere��
모더니즘이�예술과�사회�전반에�영향을�미치기�시작한� 김은희� focusing�on�the�period�from�1880�to�1930��when�
시기�1880�1930�를�중심으로�모더니즘과�영화와의� 국립현대미술관�학예연구사� modernism�as�a�cultural�style�began�exerting�
관계를�다시�생각해보고자�한다�� influence�throughout�society�and�the�arts�� Kim�Eunhee�
Curator��
This�year�s�lecture�is�delivered�by�Laura�Marcus�� National�Museum�of�Modern�and�
강연�프로그램에서는�근대�문학과�모더니즘�시기의�
professor�of�English�at�Oxford�University�and� Contemporary�Art��Korea�
영화에�대한�다수의�저서를�출간한�로라�마커스의� author�of�a�large�number�of�works�on�modern�
강연이�진행된다��로라�마커스는�자신의�저서『열�번째� literature�and�cinema�in�the�age�of�modernism��In�
뮤즈��모더니즘�시기의�영화에�대한�글쓰기』1에서� her�book��The Tenth Muse: Writing about Cinema
in the Modernist Period1��Marcus�addresses�the�
1926년에�발표된�버지니아�울프의�에세이�「시네마」2를�
close�relationship�between�modernist�literature�
중심으로�근대�문학�작품과�영화�사이의�밀접한� and�cinema��focusing�on�Virginia�Woolf�s�1926�
관계를�언급하며��20세기�초반에�비평가들이�영화의� essay��The�Cinema�2�and�noting�how�early�20th�
본질��시간과�공간의�관계��기술과�예술의�혼합�같은� century�critics�approached�issues�such�as�the�
essence�of�cinema��the�relationship�between�time�
문제에�어떻게�접근했는지를�주목한다��모더니즘�
and�space��and�the�blending�of�technology�and�
시기에�제작된�영화의�다양한�예술적�시도는�현재의� art��The�various�artistic�experiments�found�in�
영화예술이�잊어버린�질문을�환기하고�있다�� films�produced�in�the�modernist�period�reawaken�
questions�forgotten�by�the�cinematic�arts�today��
상영�프로그램에서는�소비에트�영화�이론��아방가르드��
The�screening�program�presents�eight�films�
표현주의��추상영화에�이르는�영화예술의�가장�
made�in�1920s�Europe��home�to�the�most�radical�
전위적인�시도가�이루어지던�1920년대�유럽에서� experimentation�in�cinematic�art��from�Soviet�film�
제작된�8편의�영화를�선보인다��프랑스�인상주의� theory�to�the�avant�garde��expressionism�and�
영화의�두�걸작으로��억압받는�여성의�주관적�심리를� abstract�film��Germaine�Dulac�s�The Smiling Madame
섬세하게�묘사한�제르멘느�뒬락의�‹미소�짓는�마담�
Beudet��a�subtle�depiction�of�the�subjective�
mentality�of�oppressed�women��and�Jean�Epstein�s�
브데›와�포토제니�이론에�입각해�스토리가�아닌� The Fall of the House of Usher��portraying�not�a�
상황의�심연을�묘사한�장�엡스탱의�‹어셔�가의�몰락›이� story�but�a�situational�abyss�based�on�the�theory�
소개된다��프세볼로트�푸도프킨의�혁명�삼부작�중� of�photogénie��are�two�masterpieces�of�French�
impressionist�cinema��Vsevolod�Pudovkin�s�Storm
마지막�작품인�‹아시아의�폭풍›과�우크라이나�농촌� 1 The Tenth Muse: Writing about Cinema in the Modernist Period�� 1 Laura�Marcus��The Tenth Muse: Writing about Cinema in the
over Asia��the�last�in��Revolutionary�Trilogy���and�
사회의�변혁과�계급투쟁을�시적�리얼리즘으로�묘사한� 로라�마커스��옥스퍼드�대학교�출판��2007년�
Alecksandr�Dovzhenko�s�Earth��a�poetic�realist�
Modernist Period��Oxford�University�Press��2007�

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

1차�세계대전�직후의�바이마르�공화국�1919�1933�은� ‹베를린��대도시�교향곡›의�전체�구성을�위해�장면� �After�World�War�I��Germany�s�Weimar�Republic� the�absence�of�further�explanation��can�be�seen�


최악의�인플레이션을�맞이한다��독일은�몰락한� 길이��배경��비주얼�스케치��스토리보드�등을�포함하는� �1919�1933��began��accompanied�by�a�period� as�an�extension�of�Ruttmann�s�ongoing�work�with�
of�hyperinflation��The�country�s�middle�class� abstract�film��The�work�was�produced�in�the�era�
중산계급이�급진적으로�우경화되고��공산당을�중심으로� 카드시스템�사용을�고안했다��또한�지가�베르토프가�
transformed�into�a�radical�right�wing�force��while� of�modernization��where�horse�drawn�carts�mix�
한�좌파�급진�세력은�파업을�통한�혁명을�추구하는� 창안한�몽타주�기법인��카메라�눈�의�영향을�받아� left�wing�forces�led�by�the�Communist�Party�of� with�automobiles��newspapers�are�distributed��
식으로�우파와�좌파�간의�충돌이�빈번해진다��무수히� 대도시의�이모저모를�시적인�교향곡처럼�편집한다�� Germany�sought�to�achieve�revolution�through� people�play�in�water�as�sluice�gates�open��car�races��
많은�정치�단체가�등장하는�정치적�혼돈의�시기에� 영화는�베를린의�노동자들이�출근하는�아침부터�퇴근� strikes��creating�frequent�clashes�between�the�right� marathons�and�horse�races�take�place��and��at�
and�the�left��Among�the�countless�political�groups� night��Charlie�Chaplin�films�play�in�cinemas�while�
히틀러가�이끄는�국가�사회주의�독일�노동자당�또한� 후의�밤에�이르기까지�총�다섯�개의�장으로�구성된다��
that�emerged�during�this�period�of�turmoil�was�the� showgirls�dance�in�cabarets��Berlin: Symphony of a
창당된다��이후�경제위기에서�간신히�벗어난�독일은� 노동��교통��통신��기계를�이용한�공사�현장��패션��군대�� National�Socialist�Party��led�by�Adolf�Hitler��In�1926�� Great City�offers�us�the�chance�to�glimpse�Berlin�as�
1926년에�연합군의�독일�점령이�종식되면서�전후� 운송에�이르는�전체�대도시를�구성하는�모든�요소가� having�narrowly�escaped�economic�crisis��Germany� a�city�brimming�with�life��before�falling�under�the�
최초로�안정된�시기를�맞이한다��그러나�새로운� 내레이션�없이�다이내믹한�리듬으로�전진해간다�� experienced�its�first�period�of�stability�since�the� control�of�the�Nazis��
생산방식이�출현하고��바우하우스��다다이즘의�예술� 설명을�배제한�채�도시�전체를�이루는�부분�이미지들에� war�as�its�occupation�by�Allied�forces�ended��
Ironically��however��despite�the�emergence�of�new� -�Eunhee�Kim��Curator��National�Museum�of�
활동이�활발하던�당시�독일은�아이러니하게도�나치가� 내재된�운동성을�포착하고�연결하는�방식은�루트만이�
methods�of�production�and�the�artistic�activity�of� Modern�and�Contemporary�Art��Korea�
세력을�확장해가던�시기이기도�했다� 지속적으로�작업해온�추상영화의�연장선�안에�있다고� movements�such�as�Bauhaus�and�Dadaism��this�
볼�수�있다��영화의�배경은�모더니즘의�시기로��마차와� period�also�saw�the�rise�of�the�Nazis��
한스�리히터��비킹�에겔링과�함께�추상영화�절대영화�를� 자동차가�공존하고��신문이�배포되고��수문이�열리면� 1 US�painter�and�photographer��one�of�the�founders�of�
Walter�Ruttmann�along�with�Hans�Richter�and�
제작한�발터�루트만은�애니메이션�기법의�추상영화� 사람들이�물놀이를�즐기고��자동차�경주와�마라톤�� American�modernism�
Viking�Eggeling��was�a�practitioner�of�abstract�film�
시리즈�‹작품�I��II��III��IV›를�1919년부터�1925년� 승마대회가�열리고��밤에는�극장에서�채플린의�영화가� �also�known�as�absolute�film���His�abstract�series�� 2��� US�photographer�and�film�producer��pioneer�of�modern�
사이에�제작했으며��프리츠�랑의�영화를�포함한�여러� 상영되며��카바레에서는�쇼걸이�춤춘다��‹베를린�� Opus I, II, III, IV,�of�films�using�animation�techniques� photography�
편의�광고영화에�애니메이터로�참여하기도�했다��이후� 대도시�교향곡›은�나치에�점령되기�전��생동감�넘치는� was�produced�between�1919�and�1925��Ruttmann�
also�worked�as�an�animator�on�several�commercial�
루트만은�‹칼리가리�박사의�밀실›의�시나리오를�쓴� 베를린의�모습을�볼�수�있는�기회를�우리에게�제공한다�
films��including�those�of�Fritz�Lang��Later��he�
칼�메이어��영화감독�카를�프로이튼�등과�협력해�세미� directed�the�semi�documentary�style�work�Berlin:
다큐멘터리�형식의�‹베를린��대도시�교향곡›을�완성한다�� -�김은희��국립현대미술관�학예연구사� Symphony of a Great City��in�collaboration�with�
이�영화�이전에�대도시의�풍경을�모자이크처럼�구성한� Carl�Mayer��writer�of�The Cabinet of Dr. Caligari��
영화로는�찰스�쉴러1와�폴�스트랜드2가�뉴욕�맨해튼의� and�director�Karl�Freund��The�work�was�preceded�
by�other�films�portraying�metropolitan�scenes�in�
풍경을�기록한�‹맨해튼›�1921���프랑스�파리의�
mosaic�like�formats��including�Charles�Sheeler1�
풍경과�소시민들의�하루를�시적으로�구성한�알베르토� 1 화가이자�사진작가로�미국�모더니즘�창시자�중�한�명이다�
and�Paul�Strand2�s�Manhatta �1921���depicting�
카발칸티의�‹오직�시간만이›�1926�가�있다��루트만은� 2��� 미국의�사진작가이자�영화제작자로�모더니즘�사진의�선구자이다� scenes�from�Manhattan��and�Alberto�Cavalcanti�s�
Nothing But Time (Rien que les heures� 1926)��a�poetic�
representation�of�a�day�in�the�life�of�Paris�and�its�
citizens��Ruttmann�put�together�Berlin: Symphony
of a Great City�using�a�card�system�for�the�entire�
project��including�length��background��visual�
sketches�and�storyboard��Inspired�by�Dziga�Vertov�s�
Cine�Eye�montage�technique��he�edited�various�
images�of�the�city�into�a�poetic�symphony��The�
film�comprises�five�chapters��beginning�as�Berlin�s�
workers�go�to�work�in�the�morning�and�ending�
after�they�have�gone�home�at�night��All�elements�
that�make�up�the�city�in�its�entirety―labor��traffic��
communication��mechanized�building�sites��fashion��
the�military�and�transportation―progress�to�a�
음악�� 에드문트�마이젤
dynamic�rhythm��with�no�narration��The�method�of�
Music�by�� Edmund�Meisel
capturing�and�connecting�the�inherent�movement�
in�partial�images�that�make�up�the�whole�city��in� ✽Image�Courtesy�of�Deutsche�Kinemathek
✽Image�Courtesy�of�Deutsche�Kinemathek

프로그램�2�Program�2��68min� 10 프로그램�2�Program�2��68min� 11
미소�짓는�마담�브데 The�Smiling�Madame�Beudet
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제르멘느�뒬락의�‹미소�짓는�마담�브데›는�두�측면에서� The Smiling Madame Beudet�is�prominent�in�the�


영화사의�중요한�위치에�있다��먼저�이�영화는� history�of�cinema�for�two�reasons��Firstly��it�has�all�
the�faces�of�the�modernist�avant�garde�who�sought�
영화적�예술성을�탐구했던�모더니스트�아방가르드의�
cinematic�aesthetics��Deviating�from�the�flow�of�
면면을�지녔다��영화는�캐릭터의�심리적인�주관성을� objective�narrative�which�describes�a�character�s�
서사적으로�재현하는�객관적인�서사의�흐름에서�벗어나� subjective�psychology��this�film�combines�different�
다양한�장르�부르주아�멜로드라마��리얼리즘�영화�� genres�such�as�bourgeois�soap�opera�romances��
realist�cinema��and�crime�TV�series��The�use�of�
범죄�드라마�를�결합한다��또�조명의�사용��이미지�합성��
lighting��superimposition�of�images��rhythmical�
리드미컬한�편집과�시간의�변주로�시적인�아방가르드� editing��and�variation�in�time�demonstrate�the�
영화의�잠재력을�드러낸다��관객은�영화�내내�감독의� potential�of�poetic�avant�garde�film��The�viewer�
존재감을�느끼며��모호한�결말은�영화로부터�거리를�둘� feels�the�presence�of�the�filmmaker�all�the�way�
수�있게�한다��다음으로�이�영화는�최초의�페미니스트� through�and�the�equivocal�ending�allows�the�viewer�
to�keep�their�distance�from�the�work��Secondly��The
영화로�평가�가능하다��당대에�비추어�급진적인�서사는� Smiling Madame Beudet�can�be�acknowledged�as�
마담�브데의�순간적�몽상으로서가�아닌�여성의�삶과� the�first�feminist�film��The�feminist�s�critical�views�
일상�공간�전반에�대해�재고찰을�요구한다는�점에서� are�made�clear�in�its��radical��narrative�which�is�not�
페미니스트의�비판적�시각을�찾아볼�수�있다�� merely�a�momentary�daydream�by�Madame�Beudet�
but�demands�a�reconsideration�of�women�s�lives�
and�everyday�spaces��
마담�브데는�지루하고�종교적인�시골�부르주아�
가정의�주부이지만��보들레르의�시와�드뷔시의� Madame�Beudet�is�the�housewife�in�a�boring�and�
음악을�좋아하는�지적인�보헤미안의�감성을�가졌다�� religious�bourgeois�family�in�a�provincial�city��She�
is�intellectual�and�has�a�bohemian�sensibility��
의류업에�종사하는�편협한�남편은�세속적이고�고루한�
She�likes�Baudelaire�s�poems�and�Debussy�s�
사람으로�그녀의�내면을�억압하고�지배할�뿐이다�� music��Her�husband�is�an�intolerant��crude�and�
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때는�주관적으로�시공간을�구성할�수�있는�판타지의� oppresses�and�controls�her�inner�world��She�is�
순간뿐이다��뒬락은�관습적인�서사를�차용하지�않고�� liberated�from�the�space�of�patriarchal�reality�only�
through�the�moment�of�fantasy�where�time�and�
시적인�이미지와�시각적�리듬을�사용해�다른�현실을�
space�can�be�subjectively�constructed��Dulac�does�
생성한다��특히�천천히�머리를�빗는�마담�브데를�담은� not�appropriate�conventional�narratives�but�uses�
프레임은�관습적인�여성�재현�드라마틱한�고통과� poetic�images�and�visual�rhythms�to�create�another�
공포에�사로잡힌�히스테릭한�여성�이미지�에�질문을� reality��In�particular��the�frame�that�offers�a�view�
of�Madame�Beudet�slowly�combing�her�hair�raises�
던지며��섬세한�여성�주체의�초상을�페미니스트의� ✽Image�Courtesy�of�Films�sans�Frontières
questions�about�the�customary�representation�
관점으로�담아내어�아름답게�그려내고�있다� of�women�‒�the�image�of�a�hysterical�woman�
seized�with�distress�and�fear�‒�and�at�the�same�
-�김숙현��영화감독� time�beautifully�captures�the�portrait�of�a�delicate�
woman�as�the�subject�from�a�feminist�perspective��

-�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
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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�
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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

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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�

장�엡스탱은�‹어셔�가의�몰락›에서�에드가�앨런� Based�on�a�novel�by�Edgar�Allan�Poe��in�The Fall


포의�소설을�바탕으로�자신의�영화�미학�이론인� of The House of Usher��Jean�Epstein�visualizes�his�
theory�of�film�aesthetics�‒�photogenic�neurasthenia��
�신경쇠약의�포토제니�를�시각화한다��엡스탱에게�
For�Epstein��the�medium�of�film�is�a�vehicle�for�
영화라는�미디어는�이미지와�사물�이면에�존재하는� disclosing�something�present�beyond�images�
무언가를�드러내는�도구이다��비가시적인�세계와� and�objects��His�artistic�attempts�to�represent�
캐릭터의�주관적인�감성을�드러내고��존재와�사물의� the�invisible�world�and�a�character�s�subjective�
sensibility�and�to�depict�the�inner�states�of�beings�
내적인�상태를�순수한�이미지로�보여주려는�예술적�
and�objects�through�pure�images�were�ideas�shared�
시도는�1920년대�프랑스�인상주의자들이�공유하는� with�French�Impressionists�in�the�1920s��Extreme�
아이디어다��이�영화에서�사용된�클로즈업��익스트림� close�ups�of�faces��superimposition�of�images��
클로즈업된�얼굴��이미지�합성��시간�변이적인�촬영�� variable�speed�recording��elegant�slow�motion�and�
유려한�슬로우�모션과�액션은�영화�전체의�음울하고� action��all�magnify�the�gloomy��pathological�mood�
throughout�the�entire�film�and�support�his�theories�
병적인�분위기를�장악하며��그의�이론과�실험을�
and�experiments����
뒷받침한다��
The�main�protagonist�Roderick�Usher�lives�with�his�
영화의�주인공�로더릭�어셔는�그의�아내�마들린과�함께� wife�Madeline�in�a�depressing�and�isolated�castle��
He�spends�his�days�painting�his�wife��however�the�
음울하고�고립된�성에�살고�있다��그는�아내의�초상을�
more�he�paints�her�the�more�her�illness�appears�
그리며�하루를�보내는데��그가�그녀를�그리면�그릴수록� critical��Madeline�dies�and�a�friend�of�Roderick�
아내의�병색이�짙어진다��친구가�로더릭을�방문했을� visits�the�castle��Roderick�who�cannot�accept�his�
때��아내는�결국�죽음을�맞이한다��그는�아내의�죽음을� wife�s�death�goes�more�and�more�crazy��The�wife�
who�was�buried�in�catalepsy�before�dying�returns�
받아들이지�않고�점점�더�광기에�사로잡힌다��죽지�않은�
to�life�but�the�castle�is�in�flames��The�film�creates�
채�강경증�상태로�묻혔던�아내는�되살아나지만��성은� situations�rather�than�telling�a�story��It�does�not�
화염에�휩싸이고�만다��영화는�일종의�상황을�구성해� unfold�its�narrative�through�a�voiceover��instead�it�
나가고�있다��내레이션을�통해�서사를�전개하기보다는� describes�the�situation�itself�and�the�inner�world�
상황�자체와�이를�대면한�인물의�내면을�그리며��그로서� of�the�characters�who�face�these�situations��The�
experiment�with�images�is�distinctive��The�volatile�
이미지�실험이�돋보인다��매우�불안정한�캐릭터의�
inner�side�of�the�protagonist�is�rendered�by�a�
내면은�환각적인�시간�경험과�드라마틱한�액션으로� hallucinatory�experience�of�time�and�dramatic�
묘사된다��거센�바람이�휘몰아치는�가운데�애니미즘이� action��The�castle�where�animism�seems�to�indwell�
깃든�것만�같은�성의�존재는�외적인�위협으로부터� symbolizes�the�inner�world�of�the�character�being�
devastated�by�external�threats��
붕괴되는�캐릭터의�내면을�상징한다�
-�Sook�Hyun�Kim��Filmmaker�
-�김숙현��영화감독�

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

‹칼리가리�박사의�밀실›은�로베르트�비네가�연출하고�� The Cabinet of Dr. Caligari�is�the�quintessential�piece�


카를�마이어와�한스�야노비츠가�각본을�쓴�영화로�� of�German�Expressionist�cinema��It�was�directed�
by�Robert�Wiene�and�written�by�Carl�Mayer�and�
독일�표현주의�영화의�정수를�보여준다��활력�넘치는�
Hans�Janowitz��The�aesthetic�demands�of�vibrant�
1920년대�독일�예술의�미학적�욕구는�영화에�결집되어�� German�art�of�the�1920s�were�concentrated�in�
집합적이고�복합적인�예술적�표현방식에�대한� film��giving�rise�to�the�exploration�of�complex�
탐구로�이어졌다��심리적이고�회화적이며��물리적인� and�collective�artistic�expressions��Creativity�was�
devoted�to�the�rendering�of�inner�consciousness�
현실보다는�내적인�의식과�정신�상태를�표현하는�
and�the�state�of�mind�more�than�of�psychological��
데�창의력을�쏟았다��밀집한�군중��기하학적인�건축�� painterly��and�physical�reality��Expressionist�cinema�
미로와�같이�구부러진�거리��각진�지붕과�기울어진� employed�psychological�and�dramatic�devices�such�
집��섬세한�의상��낭만적이고�명암�대비가�강렬한�조명�� as�a�dense�crowd��geometric�architectures��streets�
불길하며�공상적인�무대장치�같은�심리적이고�극적인� twisting�like�a�maze��sharp�pointed�roofs��slanted�
houses��delicately�made�costumes��romantic�and�
장치들이�표현주의�영화에�동원되었다��그�불규칙적인�
stark�lights�and�shadows��and�fantastic�stage�
세계�안에서�사람들은�광기��어두움��악몽과�최면에� settings��In�this�erratic�world��characters�are�caught�
사로잡혀�있다� up�in�insanity��darkness��hypnosis�and�nightmares���

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��
최면술에�걸린�체자레를�통해�예언하고�살인하는� he�follows�Dr��Caligari�who�foretells�the�future�
칼리가리�박사의�뒤를�쫓는다��하지만�칼리가리�박사는� and�commits�murder�through�Cesare�whom�the�
doctor�controls�hypnotically��Francis�discovers�that�
정신병원의�의사였다��프란시스는�그의�만행을�세상에�
Caligari�is�a�doctor�at�a�psychiatric�hospital�and�
알리려하지만�오히려�제지당하고�만다��편집증에� tries�to�alert�the�world�to�Caligari�s�brutality�but�is�
걸린�광기의�칼리가리�박사는�프란시스의�망상에� restrained��In�fact��Dr��Caligari��the�madman�with�
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��
expressionist�style��Ambiguous�allusive�conflicts��
중층적�이야기와�내레이션��과장된�표정과�연기로� flashbacks��unsettling�composition��multi�
인간의�신비하고�어두운�내면성을�그려내는�것이다�� layered�stories�and�narration��dramatized�facial�
이는�1차�세계대전�직후의�독일�대중의�불안정한�심리� expression�and�enactment�are�used�to�portray�
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�
탄생을�원하는�법이다��몽골이�영국�제국주의의� birth�of�new�heroes��Vsevolod�Pudovkin�s�Storm
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�
의해�꼭두각시�왕이�될�뻔하지만�결국�제국에� a�puppet�king�by�the�imperialists��but�ends�up�
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��
모험과�시련을�거쳐�영웅으로�성장해가는�영웅담이자� into�a�hero�by�way�of�a�series�of�adventures��
서구�제국주의에�맞서는�사회주의�이념을�영상을�통해� and�a�faithful�cinematic�embodiment�of�socialist�
충실히�구현한�작품이다��특히�실제�외몽골�지역에서� ideology�opposed�to�Western�imperialism��Filmed�
in�Outer�Mongolia��Storm over Asia�is�interesting�
촬영된�영화는�유목민들의�생활��라마교의�제의�같은�
for�its�ethnographic�qualities��faithfully�recording�
몽골의�문화와�삶의�모습을�충실히�기록한�민족지� aspects�of�Mongolian�culture�such�as�nomadic�
영화의�성격도�지닌다는�점이�흥미롭다�� life�and�Lamaist�robes��Pudovkin��along�with�
에이젠슈테인��도브젠코와�함께�러시아�몽타주�영화의� Sergei�Eisenstein�and�Alecksandr�Dovzhenko��was�
a�leading�director�in�the�golden�age�of�Russian�
전성기를�이끈�대표적인�감독인�푸도프킨은�특히�
montage�cinema��He�was�especially�renowned�
각각의�쇼트를�이어붙임으로써�의미와�감정을�만들어� for�his�montages�that�used�different�shots�in�
내고��이를�통해�관객의�심리를�움직이게�하는�몽타주로� sequence�to�create�meaning�and�emotion��moving�
유명하다��그의�편집�방식은�영화�전체를�관통하며� the�feelings�of�his�audiences��Pudovkin�s�editing�
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›

근대�문학과�영화의�밀접하고�복잡한�관계는�지난� The�close�and�complex�relationships�between� 연주자 사운드�디렉터


수십�년�동안�기술과�예술의�상호�작용에�대한� modernist�literature�and�film�have�become�central�
topics�in�the�last�few�decades��driven�in�part�by�an�
관심을�불러일으켰다��20세기�초부터�비평가와� 준킴��기타�� 채승균�
interest�in�the�interactions�between�technology�
이론가들은�공간과�시간의�관계��기술과�예술의�조화�� and�the�arts��From�the�early�20th�century�onwards�� 준킴�트리오에서�2011년에�‹Unconstrained›를� 채승균은�한국�음악�예술계의�대표적인�음향감독이자�
재현�영화에서의�이중현실�과�몽타주�재료의�분절� critics�and�theorists�have�sought�to�define�the� 발표하며�인상적인�기타�사운드를�보여주었다�� 프로듀서다��영국�킹스턴음대에서�뮤직�테크놀로지를�
및�재배열���존재�및�부재�효과��주체�또는�자기��및� essence�of�film�s�identity��in�particular�through�its� 2014년에는�한국적�감성과�재즈�아방가르드가�믹스된� 전공했으며��수석으로�졸업했다��채승균은�
relations�of�space�and�time��as�well�as�its�blending�
대상의�정련과�같은�관계를�통해�영화�정체성의�본질을� ‹감성주의›를�발표했다��2017년부터�작가주의�아트� 음향감독이자�사운드�디자이너로�다수의�K�POP�
of�technology�and�art��of�mimesis��film�s�doubling�
정의하려고�노력했다��또한�19세기�후반에�등장한� of�reality��and�montage��its�cutting�and�reordering� 레이블�탈�The�Arts�Label�에서�프리�재즈�계열의� 음반�제작에�참여하고�있으며��현재�경기대학교�
영화가�근대�문학의�형성에�어떻게�기여했는지를� of�its�materials���of�presence�and�absence�effects� 작품을�선보이고�있다���EBS�스페이스�공감�이�주목한� 전자디지털음악학과�겸임교수�및�한국음향예술인협회�
이해하려는�욕구도�있었다��하나의�주된�관심사는� and�of�the�smoothing�of�subject��or�self��and�object�� �2012�한국�재즈의�새�얼굴�에�선정된�바�있다� 이사로�역임�중이다�
새로운�매체의�위협과�약속에�대한�작가들의�반응에� There�has�also�been�a�desire�to�understand�how�
film��as�it�emerged�in�the�final�years�of�the�19th�
관한�것이다�
century��contributed�to�the�shaping�of�modernist�
literature��One�central�concern�is�that�of�writers�� 김창현��베이스�
-�로라�마커스��「영화와�모더니즘」�『문학의�발견�� responses�to�the�threat��and�the�promise��of�the� 김창현은�트리오로그�앨범으로�한국대중음악상�2개�
20세기』��브리티시�라이브러리� new�medium� 부문을�수상한�후�‹Too�Soon�Too�Late›��‹When�
I�Walk�With�You›��‹Unbalanced�Beauty›��
-�Laura�Marcus���Cinema�and�Modernism���
Discovering Literature: 20th century��British�Library� ‹잔향�殘響�›��‹망각�忘却�›��‹해체�解體�›��‹관념�觀念�›�
등�다수의�앨범을�발표했다��‹망각�忘却�›으로�
2015년�한국대중음악상�재즈&크로스오버�부문�
최우수연주상을�수상했다�
강연자 로라�마커스� Lecturer Laura�Marcus�
�옥스포드�대학교�뉴컬리지�영문학�교수�| �Goldsmiths��Professor�of�English�
영국아카데미�회원� Literature�and�Professorial�Fellow�of�New� 김선기��드럼�
College�at�the�University�of�Oxford�|� 2013년에�데뷔한�김선기는�재즈�트리오�고니아�Gonia��
로라�마커스는�주로�개인�회고록�및�에세이��모더니즘�� Fellow�of�the�British�Academy� 활동을�시작으로�다양한�작품에�참여했고��2017년부터�
버지니아�울프��블룸즈버리�문화��현대�문학과�영화를� 베이시스트�김창현의�‹해체�解體�›와�기타리스트�준킴의�
포함한�19세기�및�20세기의�문학과�문화에�대해� Laura�Marcus�s�research�and�teaching�interests� ‹우주미학›��‹myself›에�참여하면서�아방가르드�음악의�
are�predominantly�in�nineteenth�and�twentieth�
연구하고�강의한다��저서로는『자전적�담론��이론�� 새로운�드러밍을�선보였다��2018년�자신의�첫�번째�
century�literature�and�culture��including�life�writing��
비평��실습』�1994��『버지니아�울프��작가와�그의� modernism��Virginia�Woolf�and�Bloomsbury�culture�� 정규�앨범�‹이상�伊桑�›을�발표했다�
작업』�1997�2004��『열�번째�뮤즈��모더니즘�시대의� contemporary�fiction��and�literature�and�film��
영화에�대한�글쓰기』�2007�가�있으며��공동�편집한� Her�book�publications�include�Auto/biographical
Discourses: Theory, Criticism, Practice �1994���Virginia
책으로『20세기�영문학의�케임브리지�역사』�2004��
Woolf: Writers and their Work �1997�2004���The Tenth
등이�있다��현재는�1910�1920년�영국�문학에�관한�책을� Muse: Writing about Cinema in the Modernist Period
준비�중이며��19세기�후반에서�20세기�초반까지�다양한� �2007��and��as�co�editor��The Cambridge History
규율의�맥락�안에서�일어나는��리듬�의�개념에�대한� of Twentieth-Century English Literature �2004���Her�
연구를�진행하고�있다� current�research�projects�include�a�book�on�British�
literature�1910�1920��and�a�study�of�the�concept�of�
�rhythm��in�the�late�nineteenth�and�early�twentieth�
centuries��in�a�range�of�disciplinary�contexts�

25
Screening�+�Live�Music��The Cabinet of Dr. Caligari 큐레이터 김은희

진행� 전하영

Performer Sound�Director
편집� 권정현

Jun�Kim��Guitar�� Scott�Chae 리뷰 김숙현��김은희��모은영


Jun�Kim�released�Jun�Kim�Trio�s�Unconstrained� Scott�Chae�is�one�of�the�leading�sound�directors�
featuring�guitar�sounds��in�2011��He�mixed�Korean� and�producers�in�the�Korean�music�scene��He� 번역 손세희��벤�잭슨
sensibility�and�avant�garde�jazz�in�Gamseong-juui�� graduated�at�the�top�of�his�class�with�a�degree�in�
2014��Since�2017�Kim�has�released�work�using� Music�Technology�from�Kingston�University�UK��� 기술�총괄 류원규
free�jazz�elements�on�Tal��The�Arts�Label��Kim�was� After�returning�to�Korea��he�participated�in�the�
selected�as�the�New�Face�of�Korean�Jazz�by�EBS� production�of�a�number�of�albums��He�also�created� 그래픽�디자인 김은지��개미그래픽스�
Space Gong-gam��a�Korean�music�TV�show���� K�Pop�signature�sounds��

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�
Isang�was�released�in�2018����

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

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