구로사와 아키라(黒澤明)의 「멋진 일요일」의 연출考 －카메라 기법과 음악을 중심으로－

Abstract

I studied on the directing of Kurosawa Akira’s One Wonderful Sunday centering around the shooting technique and film music. Summing up, the results are as follows. First, on the basis of the neo-realism defined by Susan Hayward, I reviewed what Suzuki Masaaki mentioned that Wonderful Sunday is ‘the Japanese version of neo-realism’. Although Wonderful Sunday was not filmed entirely on location and didn’t cast non-professional actors, I confirmed that other characteristics of this film are in accordance with the characteristics of the neo-realism film. Beyond distinguishing Suzuki’s opinion between right and wrong, This study provides theoretical basis appropriate for explaining the character and expression technique of Wonderful Sunday. Second, I considered the shooting technique in respect of the image transition and the camera movements separately. In regards to the image transition, I confirmed that Kurosawa didn’t enumerate cuts and space transition in order, but he used various technique with the course of the plot such as dissolve or fade. In addition, panning shot is standing out this film. Panning is originally to be used for the shooting scenes or movements not fit in a frame. But Kurosawa let the characters in and out of the frame so that he expose their feelings and situations effectively. As there are many scenes showing the couple running in this film, the director made those scenes relaxed, speedy and refined using the tracking shot, dolly-in technique and proper cut. Finally, I studied what Kurosawa intended with the film music by referring to the theory of Joseph Boggs since his previous work, The Men Who Tread On The Tiger’s Tail, received attention with its film music. Most of the inserted music was familiar to the Japanese public and arranged slightly so that the public could guess the original one. The music was arranged in various ways. In case of Frische Brise coming from the speaker of Yuzo’s lodging house after Masako left, It was used as same as the orginal one. The second movement of Schubert’s Unfinished Symphony was arranged for the ending scene. In case of My blue Sky in model house sequence, its lyrics was removed and the melody was changed cheerfully. Furthermore, in comparison to his previous work, I confirmed this film shows the remarkable direction method using the sound of reality and connecting the sound of reality and the background music.