Voice-over is a compound word. It consists of ‘voice’ and ‘over’. ‘Voice’ means the sound that we can hear when someone is speaking. ‘Over’ is related to the relationship between the sound and the images; when a voice doesn't come from the images but from another level of the discourse, we call it voice-over. There are two types of voice-over. One is voice-over heard by the subject. The other is voice-over telling. ‘Voice-over heard’ can be retrospective or hallucinatory. ‘Voice-over telling’ is divided into two categories: the voice-over that tells and controls the whole story and the voice-over that is contained in the story. Voice-over telling and controlling the whole story can come from either outside or inside of the diegesis. If it comes from outside of the diegesis, we call it extra-diegetic. The speaker of the extra-diegetic voice-over can be identified or remain anonymous. If the voice-over comes from inside of the diegesis, we call it intra-diegetic. The listener of the intra-diegetic voice-over can be another character or spectators. When a voice-over is contained in the story, it must be one of the next three: character voice-over contained, interior monologue, or substitution for written narration. Voice-over seems to begin being used around 1955 in Korean films. In 1950's, most of them were contained in the story. It seemed that voice-over began to tell and control the whole story by extra-diegetic narrator around 1960. For example, that kind of voice-over was used in Ah! White Tiger Kim Gu(1960), Concubine Chang(1961), Gu Bong-Seo's Parvenu(1961), etc. Among them, Gu Bong-Seo's Parvenu used diverse types of voice-over most variously. This essay analyses the use and effects of each type of voice-overs in Gu Bong-Seo's Parvenu. It might be helpful to find out how elaboratory each voice-over was used in Korean films around 1960.
1. 들어가는 말
2. 보이스오버, 보이스오프, 보이스오버 내레이션
3. 보이스오버의 유형들
4. 보이스오버의 다양한 유형과〈구봉서의 벼락부자〉
5. 맺음말
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