카프카와 핀터의 『심판』

Pinter's Film Adaptation of Kafka's The Trial: The Difference between the Literary Machine and the Cinema Machine

Although Pinter closely followed Kafka in his film adaptation of The Trial, there is and essential difference between Kafka's novel and Pinter's screenplay which, from my point of view, might explain why the film fell short of critical expectation and failed to compel an audience It is 'the K-function,' Deleuze and Guattari;s term in their work Kafka Toward a Minor Literature, that resists and easy translation into other media, in this case to film, raising the question of different mode of reception operating in reading and film viewing After summarizing the nature of the law machine in Kafka's The Trial following the interpretation of the work by Deleuze and Guattari, the paper explores and discusses why the problem of the K-function should be the focal point in considering the cinematic expression of the novel If Pinter understood K's anonymity not as a signifier for a cipher' but a general function, a means of perpetrating movement and keeping the writing machine operating, he might have come up with a non-realistic cinematic style or technique to express the function on the screen Instead, Pinter and the director of the film decided to "make it real," thus excluding any possible opportunity for and imaginary expression(of Percept and Affect) In his self diagnosis, the producer Louis Marks remarks their failure to provide a truly recognizable identity" workable as a basis for the identification of the audience However, K's anonymity is not to be replaced by and solid identity It is there still waiting for creative cinematic transformation based on Delezean perspective, resisting conventional representation