미시적 인상의 다성적 유희

Polyphonic Play of Microphysiognomy: Focusing on the Theory of Bela Balázs and the Close-up in 'Bleak Night'

This Paper examines a meaning of close-up especially in the context of the concepts of the “microphysiognomy” and “polyphonic play” which are crucial to the film theory of Bé́la Balá́́́́zs. The Hungarian Intellectual, Béla Balázs was one of the classical film thinkers who pursuit to construct film theory, whose purpose is to design the model of the ‘visual unconscious’. Among others, Balázs shed light on the function of the camera, which enable the film to incarnate and visualize the subtle emotional oscillation. He also pointed out that this capacity is fulfilled through a sort of shot scale ‘close-up’, namely the face of person or thing. This notion on the meaning of the close-up is somehow opposed to the general understanding, which regards the function of the close-up as the signification or para-proxemity, i.e. a sort of the effect of identification. In this paper this idea of close-up as autonomous tactic of expression was also exemplified by the newest Korean film <Bleak Night>, which is one of the successful independent films in 2011.