ํ๋ฆ ๋์๋ฅด์ ์ ํ์ ๋ถ์ ํ ํ์ค์ ์์ฃผํ๋ ๋ฏธ๊ตญ์ ๋ฐฐํ์ ๋ฐค์ ์ด๋์ด ์ธ๊ณ๊ฐ ์จ์ด ์์์ ํฌ์ฐฉํ์ฌ, ํํ์ฃผ์ ์ด๋ฏธ์ง์ ์ฌ์ด๋๋ก์ ์ ํ ์ฑ๊ณต์ ์ด๋ฉด์ ๋ด๊ธด ๋ถํจ์ ๋น์ธ๊ฐ์ฑ์ ํญ๋กํ๋ ๊ฒ์ด์๋ค. ์ํ <ํฉ๊ธ ํ์ ๊ฐ์ง์ฌ๋์ด>(1955)๋ ํดํผ์๋์ ๊ฐ๋ฅ์ฑ์ด ์๋ ๋น๊ด์ ๋ถ์๊ธฐ์ ํ๋ฆ ๋์๋ฅด์ ๋ฌ๋ฆฌ, ํค๋ก์ธ ์ค๋
์๋ฅผ ์ ํ ํฌ์์๋ก์ผ์์ ์
ํ ์ ํน์์ ๋ง์๊ณ ์กด์ฌ ์ด์ ๋ฅผ ์๊ฐ์ ์ผ๋ก ๋ฌผ์ผ๋ฉฐ ์ฃผ์ฒด์ ์ธ ์ํ์ ๋จธ๋ฌด๋ ์ธ๋ฌผ๋ก ๊ทธ๋ ธ๋ค. ํ๋ ๋ฐ๊ฑฐ๊ฐ์ฐฝ์กฐํ ํ์ด๋ก์ ๋ฉ๋ก๋๋ผ๋ง์ ์บ๋ฆญํฐ๋ ๋ถํ์ค์ฑ์ ์ง๋ ์ธ๋ฌผ์ด๋๋ผ๋, ์ค๋ฆฌ์ ์ค์กด์ ๋ฐ๋ผ ์ค์ค๋ก ๋ฌด๋ ฅ๊ณผ ์ ๋ง์ ๋๋ผ๋ฏ๋ก ๊ด๊ฐ์ ๊ณต๊ฐ์ ์ด๋๋ค. ํ๋ ๋ฐ๊ฑฐ๋ ๋ง์ฝ ๋ณต์ฉ์๋ฅผ ํ์ธต ๊ณ๊ธ์ ๋ฒ์ฃ์๋ก ๊ตญํํ์ง ์์ผ๋ ค๊ณ , ํ๋ญํค ๋จธ์ ์ ์ค์ฐ์ธต ๊ด๊ฐ์ด ์๋ณํ ์์๋ ์บ๋ฆญํฐ๋ก ๊ณ์ธต์ ๋์๋ค. ํ๋ญํค๋ฅผ ํน์ ์ฌํ๋ ์ ์น ์ธ๋ ฅ์ ํฌ์์๊ฐ ์๋ ์ฌ์
ํ๊ณ ํ๋ฝํ ์ ํน์๋ค๊ณผ ๋ง์๋ฉด์ ์๊ธฐ ์ด๋ช
์ ์ฑ
์์ง๋ ์์
์ผ๋ก ๋ง๋ ๋ค. ์ด๋ฐ ๋ณํํ๊ธฐ์ ๊ฐ์์ผ๋ก, ์์
์์ฌ์ ์ค์ฌ ํ๋กฏ๊ณผ ๋ฉ๋ก๋๋ผ๋ง์์๋ธํ๋กฏ์ ์ง๋ ์ค์ธต์ ์์ฌ ๊ตฌ์กฐ๋ฅผ ํ์ฑํ๋ค. ๊ทธ๋ฆฌ๊ณ ์คํ ๋ฆฌํ
๋ง์ ๊ตฌ์ฑ ์ค ๊ฐ์ฅ ์ค์ํ ํ๋์ธ ํธ๋ฆฌํธ๋จผํธ, ์ฆํค๋ก์ธ ์ค๋
๊ณผ ๋ง์ฝ ๋๊ธฐ(cold turkey) ์ฌ์ด์ ๊ฐ๋ฑ์ ์ํ์ฌ ํ๋กํ๊ณ ๋์คํธ(ํ๋ญํค, ๋ชฐ๋ฆฌ)์ ์ํ๊ณ ๋์คํธ(๋ฃจ์ด,์๋นํ์นด, ์กฐ์ฌ), ์ฝ๋ฏน ๋ฆด๋ฆฌํ(์คํ๋ก์ฐ, ๋ฐ์ด, ์กด) ๋ฑ ๊ธฐ๋ฅ์ ๋ฐฐ์ญ์ ์ค์ ํ๋ค. <ํฉ๊ธ ํ์ ๊ฐ์ง ์ฌ๋์ด>๋ ๊ณต๊ฐ๊ฐ์ ์ค์กด ๋ชจํฐํ๊ฐ ๋๋ ทํ๋ค. ๋์์คํฌ๋ผ ์์์ ๋ฐํ์ผ๋ก ๊ตญ๊ฐ๋ ์ธ์ข
, ๊ณ์ธต, ๊ด์ต, ์ด๋ฐ์ฌ๋ก๊ธฐ ๋ฑ์ ํ๊ณ๋ฅผ ๊ทน๋ณตํ๊ธฐ ๋๋ฌธ์ด๋ค. <ํฉ๊ธ ํ์ ๊ฐ์ง ์ฌ๋์ด>๋ ๋
์ผยท๋์ ๋ฝ ํํ์ฃผ์์ ์ด์ฐ์ํ(diaspora film)๊ฐ ์๋ ๋ฏธ๊ตญ ํ ๋ฆฌ์ฐ๋์ ์ตํฉ ์ํ(fusion film)๋ก์ ํ่ซ์ํ ํ๋ ๋์์คํฌ๋ผ ์์์ ์ถฉ์คํ๋ค. ์์
, ์ํ, ์๊ฐ ์์ ๋ฑ์ด ๋์์คํฌ๋ผ ๊ฒฝํ์ ๊ตฌ์ฑ ์์๋ก ๊ฐ์ฃผํ๋ ์ํธ ๋ฌธํ์ฃผ์์์ ์ด๋์ ์ทจํ๋ฏ์ด, ์ด์ํ๋ ์ตํฉ๊ณผ ํผ์ข
์ ํํผํ์ง ์์๋ค. ํ๋ฆ ๋์๋ฅด์ ํต๋
์ ๋จธ๋ฌผ์ง ์๊ณ ์ ์ํ์ ๊ธธ์ ๋์๋ ์์ ๊ฐ๋ค๊ณผ ํจ๊ป ๊ฐ์ฒํ๋ค. ์ํ ๋ด์ฉ์ ์ค์ฒด๊ฐ ํ์ด๋ก์ ๋ฉ๋ก๋๋ผ๋ง์ ์บ๋ฆญํฐ ์ฐ๊ธฐ๊ฐ ์ค์ฌ์ด๋ผ๋ฉด, ์ํ ํํ์ ์ค์ฒด๋ ์ ๋ฐ์ค์ ์ํ ๊ทธ๋ํฝ ์ด๋ฏธ์ง์ ์๋จธ ๋ฒ์คํ์ธ์ ์ํ ์ฟจ ์ฌ์ฆ ์ฌ์ด๋์ ์์ด๋ดํฐํฐ๊ฐ ํต์ฌ์ด๋ค. ์ด๋ฐ ์คํ ๋ฆฌํ
๋ง์ ํํ์ ์ํ ์ํธํ
์คํธ์ฑ ๋ฏธํ์ ํ์ ์ ์ด๊ณ ์ ์๋ฏธํ ์๋์๋ค.A typical film noir storyline aims to capture the darker world hiding behind the rich facade ofthe United States, revealing the corruption and inhumanity behind postwar success throughexpressionistic images and sounds. However, unlike the typical film noir, which has a pessimisticatmosphere with no possibility of a happy ending, the film, The Man with the Golden Arm (1955)depicts a heroin addict as a noble victim, an independent figure who stands up to an evil tempterand asks why he should live at all. Though the character created by Preminger by fusing a herocharacter and a melodrama character may be an ambiguous figure, he earns the sympathy ofthe audience because of the helplessness and frustration he experiences in the pursuit of anethical path through life. To avoid stereotyping drug users to lower-class criminals, Preminger raised the status of FrankieMachine to a character that could be identified by middle-class audiences. He made Frankie ahero who takes responsibility for his destiny; not a victim of certain social and political forces,but someone contending with evil and corrupt tempters. With these variations, the film has amulti-layered narrative structure with a central plot of a hero narrative and a subplot of melodrama. The most important of the storytelling components is treatment; that is, the conflict betweenheroin addiction and going โcold turkey.โ For the conflict, functional roles are set up: protagonists(Frankie and Molly), antagonists (Louie, Schwiefka and Zosh), and comic relief characters (Sparrow,Vi and John). The film, The Man with the Golden Arm clearly shows a synesthetic expression of the motifof existence. This is because, based on a diasporic consciousness, it overcomes limitations suchas nationality, race, class, customs, and ideology. It is not a diaspora film of German and EasternEuropean Expressionism, but a fusion film of Hollywood, and is faithful to the de-territorializeddiaspora consciousness. Just as music, movies, and visual arts benefit from interculturalism,considered a component of the Diaspora experience, The Man with the Golden Arm did notavoid convergence and hybridization. Instead of staying in the conventional genre of film noir, itpioneered the path of a new film with contemporary artists. If the core of the movieโs contentwas centered on the acting of the hero and melodramatic character, the core of the movieโsaesthetics can be found in the graphic images created by Saul Bass, and in the distinctive cooljazz sounds created by Elmer Bernstein. The intertextual aesthetics used for this type of storytelling was innovative and meaningful.