영화 속의 회화와 죽음: 알렉산드르 소쿠로프의 <어머니와 아들>을 중심으로

Paintings in Cinema and Death: Aleksandr Sokurov’s <Mother and Son>

This article explores the relations of cinema and paintings, especially concentrating on Russia’s most distinguished living film-maker Aleksandr Sokurov’s masterpiece <Mother and Son>. In the course of numerous interviews he exalted the bi-dimensionality and the flatness of the cinematic image, connecting it not only to the tradition of European classical paintings, but also the Byzantium religious icon. But if we consider the origin and evolution of cinematography, the flatness of image indicates just a regression of the genre. Then for what purpose did Sokurov adopt the bi-dimensionality of cinematic image? Is there any special esthetic strategy? This article analyzes the functions of pictures inserted into the filmic space, or the cinematic images imitating paintings. In <Mother and Son> time is suspended by virtue of cinematic images through its constant painterly references, which creates a sense of timelessness and endows the film a special matiere. The article consists of 3 parts: in the first part would be discussed general film theory on the relation of cinema and paintings; the second part is dedicated to the scrupulous analysis of Sokurov’s <Mother and son>; in the third part will be showed the existential meaning of memory inscribed on the pictorial image, which comes closer to the contemplative, absorbing regime of the icon.