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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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This essay tries to show how the various point-of-view shots and make meaning in The Shining. Kubrick represents psychological statement of Danny and Jack as images, and in addition the strict plot of this film provide strong fear, even without horrible scenes, to spectators. Characters in the film are not conventional as Hollywood movies; good people, heros, ordinary neighbors and so on. Doing paranoid and anti-cultural behavior, they display psychological anxiety of the contemporaries.
Steven, the author of Shot by Shot, says thar no one can ever make his own style of omniscient and restricted point of view shot except Kubrick. He, through the various point of view shots, achieves a maximum of dread. He makes full use of omniscient point of view shot by heli-shot in the opening scene. Because of a wide-angle lens, It is distorted and wafted as if an evil spirit sees the Jack's and increases fearfulness with a weird sound track.
Kubrick prefers objective point of view. He keeps spectators distance with characters in his movie, and it disturbs their emotional identification with movie characters. Instead of detailed delineation, he gives them tips so that they guess unfolding story by themselves. Namely, he wants the spectators to be observers in the movie. This Observer's view is visualized as third-person restricted point of view by tracking shot in The Shinning. A camera which keeps distance from object is getting close to Danny and chases him like a ghost sees. In the last part that the ghost possesses Jack's mind, the point of view shot changes over the subjective first-person point of view shot.
In the climax, the chasing scene in a labyrinth garden, it achieves a maximum of tension and crisis through a steadicam. The scene of chasing Danny is showed by Jack's first-person point of view shot, and it visualizes the touch-and-go situation. This is a unique style of Kubrick's own. In conclusion, the triple formations of horror which symbolize the contemporary dread by adding invisible fear to realistic horror in The Shinning match with the triple point of view shots respectively.
To find out why Kubrick uses new technologies, for example steadicam, handheld shot, and Dolby system recording, etc. and how he creates the ways of expression that make spectators attend to the plot of story, imagine the situation and observe the action not in plain dialogs or scenes but with the objective view in The Shining, is the objectivity of this paper.
Steven, the author of Shot by Shot, says thar no one can ever make his own style of omniscient and restricted point of view shot except Kubrick. He, through the various point of view shots, achieves a maximum of dread. He makes full use of omniscient point of view shot by heli-shot in the opening scene. Because of a wide-angle lens, It is distorted and wafted as if an evil spirit sees the Jack's and increases fearfulness with a weird sound track.
Kubrick prefers objective point of view. He keeps spectators distance with characters in his movie, and it disturbs their emotional identification with movie characters. Instead of detailed delineation, he gives them tips so that they guess unfolding story by themselves. Namely, he wants the spectators to be observers in the movie. This Observer's view is visualized as third-person restricted point of view by tracking shot in The Shinning. A camera which keeps distance from object is getting close to Danny and chases him like a ghost sees. In the last part that the ghost possesses Jack's mind, the point of view shot changes over the subjective first-person point of view shot.
In the climax, the chasing scene in a labyrinth garden, it achieves a maximum of tension and crisis through a steadicam. The scene of chasing Danny is showed by Jack's first-person point of view shot, and it visualizes the touch-and-go situation. This is a unique style of Kubrick's own. In conclusion, the triple formations of horror which symbolize the contemporary dread by adding invisible fear to realistic horror in The Shinning match with the triple point of view shots respectively.
To find out why Kubrick uses new technologies, for example steadicam, handheld shot, and Dolby system recording, etc. and how he creates the ways of expression that make spectators attend to the plot of story, imagine the situation and observe the action not in plain dialogs or scenes but with the objective view in The Shining, is the objectivity of this paper.
목차
1. 들어가는 말
2. 스텐리 큐브릭의 생애와 작품
3. 스텐리 큐브릭의 신기술 분석
4. 〈샤이닝〉에 묘사된 다양한 시점 숏의 의미 분석
5. 맺는 말
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