홍상수 영화에 재현된 초현실주의 기법과 꿈 시퀀스 분석

A Study on Hong Sang-soo's texts through surrealism and dreams

Hong Sang-soo's films resemble mountains with a lot of mountaineering trails and a building with a lot of entrances. In this study, one methodology has been applied to approach Hong Sang-soo's texts through surrealism and dreams. Surrealism meets the core of art in a sense that it searches subconsciousness and seeks illogic. Even though Director Hong Sang-soo has created his pieces in Chung-moo-ro, he accommodates surrealism cinematically regardless of the risk of lacking communications with the public. There have not been sufficient full-scale discussions on the relations between surrealism and Hong Sang-soo's texts. His texts are connected to surrealism in three aspects; the titles, the usage of collage and the scenes of dreams. When it comes to giving titles, he named some of his films in the connotation of surrealism ; <Woman Is The Future Of Man> from a poetic phrase of a surrealism poet, Louis Aragon, and <Virgin Stripped Bare By Her Bachelors> from <The Bride Stripped Bare By Her Bachelors> by Marchel Duchamp. Collage can be achieved by the arrays of foreign images such as “the accidental encounter with an umbrella and a sewing machine on the dissecting table.” The scene of eating cake at the house of mourning from <The Day A Pig Fell Into The Well> is a typical scene of collage. The scenes of dreams are a cinematic alteration of surrealists’ automatic writing in which the instincts comes ahead of the refinement. In Hong Sang-soo’s films, dreams appear either in a scene to show resentment or as a separate text to make an outcome from the distortion and substitution of suppressed things. An example of the former explanation is a dream of satisfying resentments in <Woman Is The Future Of Man>, and the latter one shows in Bo-kyung's dream in <The Day A Pig Fell Into The Well>. The scenes of dreams coincide the purpose of expanding the spectrum of cinematic expressions and setting a caged spirit free by actively embracing the dream world of surrealism. Hong Sang-soo's texts break into two sectors of revealing desires and distorting suppressed desires. The former sector is directly connected to texts and the latter one gets independent as a separate text to form 'mise-en abyme of a film in a film' and, at the same time, ‘is concluded as double images’ as well. Both mise-en abyme and collage are added up to become a dual image with multiple meanings. Hong Sang-soo's originality relies partially on descriptive alterations and aesthetic achievements through the sequence of dreams.