홍상수 영화에서 나타난 롱 테이크 미학의 변화 연구

A Study on Changes in Long-Take Aesthetics Shown in Films by Hong Sang-Soo

Hong Sang-Soo might be the representative director who excellently expresses the realism, contemplative beauty of image, and long-take technique in Korea. The contemplative beauty of image felt from actors moving in a fixed camera fully expresses the realism. The long-take shooting technique that joins diverse shots into a single connected shot, shown in the long-take shooting technique of contemplative beauty of image by director Hong Sang-Soo shows the contemplative beauty of image of the realistic narrative structure. Rather than the uniqueness of special stories shown in long-take, the contemplative beauty of image of the realistic narrative structure makes people listen carefully to my own story and stories that could happen in surroundings. It would be meaningful to review the periodic changes in the long-take aesthetics of directing style of director Hong Sang-Soo expressing such beauty of image. In the results of analyzing changes in the long-take aesthetics focusing on his initial film <The Power of Kangwon Province>(1998), a film in the 2000s <Woman on the Beach>(2006), and a film of 2010 <Hahaha>(2010), <The Power of Kangwon Province> shows the long breath of objective perspective by using long-take and simple editing, and also fixing the camera. Sharing emotions and breathing together between audience and actors, it increases the immersion and realism as well. The film <Woman on the Beach> fully followed the existing long-take technique, and also quietly started attempting to move the camera. Without dividing scenes that could be divided into shots, it contained the long-take shooting technique in a single shot into the screen. Also, in the film <Hahaha>, the movement of camera was increased much enough to feel that the long-take shooting was flashy. In the existing films, the division of 1-2 shots was rampant while the film <Hahaha> used the long-take shooting technique for the division of more shots into a single shot. This change in the long-take aesthetics could be viewed as director Hong Sang-Soo’s stubbornness to keep the narrative structure of realistic realism. Director Hong Sang-Soo’s stubbornness to show the divided shot with quick breaths in a single shot strongly expresses his will to fully show the realism of the contemplative beauty of image.