<북촌방향>의 내레이션 전략에 관한 연구

A Study on Narration Strategy of <The Day He Arrives>

This thesis aims to understand the narration strategy of Korean film <The Day He Arrive>. Since the 1990s, there has been a popular cycle of films that rejects classical storytelling strategies and replaces them with complex storytelling. Complex storytelling films are divided into interwoven plot films and entangled plot films. <The Day He Arrive> is a good example of entangled plot film. To analyze <The Day He Arrives>, the narration theory of Bordwell was modified and complemented to be used as the analysis framework. The narration theory of Bordwell explains the narrative structure of the film and the narration of the audience from the Aristotle perspective. Bordwell understood the narration of the audience as a process for creating another story by filling in the gaps between plots based on the plot information provided by the film and the schema of the audience. To create gaps, the film uses the retardation and redundancy strategies. By intentionally delaying plot information or using the redundancy strategy to repeatedly provide identical or similar plot data, entangled plot films make audience narration a daunting task. To properly understand the narration of entangled plot films, the Bordwell’s concept of gap must be modified according to the characteristics of entangled plot films. This study adopted the concept of Iser, who understood the gap between plots as an ‘unclear’ part of text that triggers the ‘free interpretation’ of the audience. The gap of entangled plot films adjures the audience to infer 326영 화 연 구 ․ 5 6 호appropriate stories according to their own narration. As entangled plot films, the complicated plot of <The Day He Arrives> is composed of controllable space and characters. By using the redundancy strategy ‘concentrated & preliminary exposition,’ the audience infers the story based on the information given in the early part of the movie (scenes #1-5). However, due to the ‘distributed & delayed exposition’ retardation strategy and the ‘redundancy strategy at the level of the relations between plot and story’, the audience discovers gaps in the story and begins to actively use the provided plot information to fill in these cracks. Filling the gaps of entangled plot films, the audience experiences phenomenological contemplating about the world recognition.