This paper intends to look into the 'formal' aspects in the movies of Shin Sang-ok, who is a representative film director of Korea in the 1960's, Shin Sang-ok quested for the embodiment of 'image text' rather than 'langua ...

This paper intends to look into the 'formal' aspects in the movies of Shin Sang-ok, who is a representative film director of Korea in the 1960's, Shin Sang-ok quested for the embodiment of 'image text' rather than 'language text' in order to express his outlook on the world and aesthetical point of view through various image-signs in his movie. We can find that the narrative structure in his historical movies such as Yeonsangun, Tyrant Yeonsant is used as a very critical communication tool and also the position and the angle of the camera produce diverse meanings.
Specifically, in his movie, it is notable that he made un original oblique composition, which is different from the perspective representation used in the western art and movies. This creative technique is rarely found in any films from other countries. It is said that he overcame 'the perspective representation' which means one creature of the western skill. We surveyed the conflicts of tradition and modernity which were shown in Korea historical movie in the 1960's.
In this way, his historical movies seems to transcend the western modernity into the oriental contemplative aesthetics in a layer of formal technique of the film.

1. 들어가는 말
2. 동서양 시각 구도의 차이
1) 신상옥 영화의 사선구도
2) 동서양 회화에 나타나는 구도의 차이
3. 신상옥 사극 영화에 나타난 사선의 계열 : <연산군>과 <폭군 연산>을 중심으로
1) 서사적 사선구도와 비서사적 사선구도 ...

1. 들어가는 말
2. 동서양 시각 구도의 차이
1) 신상옥 영화의 사선구도
2) 동서양 회화에 나타나는 구도의 차이
3. 신상옥 사극 영화에 나타난 사선의 계열 : <연산군>과 <폭군 연산>을 중심으로
1) 서사적 사선구도와 비서사적 사선구도
2) 기타 사선 구도들 : 양각 쇼트와 경사 앵글
4. 사선 구도와 역동성
1) 사선 구도와 사선 이동
2) 사선 구도와 한국적 역동성
5. 결론을 대신하여
참고문헌
Abstract