영화미학의 대화: 세르게이 파라자노프와 안드레이 타르코프스키

Abstract

The artistic trend of the 1960s, defined as the “era of freedom and experimentation”, in the era of Thaw, two Russian directors, Sergei Paradzanov and Andrei Tarkovsky representing externally the so-called “Soviet Nouvelle Vague generation”. Both of them maintained a special rapport while continuing their cinematic aesthetics full of poetic parables and metaphors, and were accompanied by a series of aesthetic dialogue through various motifs in each other’s films. The friendship and emotional exchange that the two directors maintained throughout their film career not only enriched the two directors’ film world but also became an important driver for expanding the foreign presence of Russian films.BR In this paper, we considered how the two directors’ deep bond and cinematic communion influenced each other’s cinematic aesthetics, and how they were mutually reflected through aesthetic images and objects. Consistent images of “Imaginary material world” in Paradzanov’s films are also key elements that penetrate Paradzanov’s aesthetics, just as various symbols – images that are not directly related to film plots but onstantly protruding – reflect the director’s own psyche and worldview, while at the same time creating semantic unity that runs through the entire Tarkovsky’s film. The constant repetition of aesthetic images and objects in the two master’s films has also been an important device for creating an internal dialogue as well as an homage to each other.