‘이와이 슌지’영화 속에 나타난 화면구성 연구－러브레터, 4월 이야기를 중심으로－

The study on the mise-en-scene expressed by Iwai Shuunji movies－Focusing on Love Letter and April Story－

With the open the door policy for Japanese pop culture, it has been over 10 years since Japanese movies were officially imported. Starting with “Hana-bi” directed by Kitano Takeshi, The Eel(1997), The shadow warrior(1980), Narayama Bushiko(1982) were sequentially released. Although film audiences had been curious about the Japanese movies long before officially seeing Japanese movies in a movie theater, those movies did not satisfy the audiences’ expectation. Love letter directed by Iwai Shuunji in 1999 dramatically reversed the situation. Love Letter even created a fever of the director Iwai Shuunji. Japanese critics criticized that as Iwai Shuunji was possessed with visualization and focused on the minute detail without the main theme, he just sophisticated the expression and failed facing the reality as it was. However, the young audience response did the opposite and enthusiastically welcomed his contemporary air and sentiment. Therefore, this study demonstrates how Iwai Shuunji uses the Rule a third and a balance through comparing Love Letter (1999) with April Story(2003) and intensively analyzes both of them. This study also reveals how the emotion can be effectively conveyed between movie audience and the mise-en-scene he creates.