|
|
|
|
|
|
[Áß°í] 1995 280ÂÊ [Áß] Ç¥Áö¿¡ ¼Õ¶§ ¹¯°í, µÞÇ¥Áö ½ºÆ¼Ä¿ ºÙ¾îÀÖÀ½.
"Considered by many critics to be one of Welles's great works, the film gets a superb review in this first-rate anthology. . . . Recommended." --Film Study "This is a welcome addition to the growing collection of scripts of film classics, one to put on the shelf next to Welles's Citizen Kane. . . . Recommended." --Choice Welles is by consensus one of the most talented film directors who ever worked in Hollywood, and this flamboyant film--a 1958 exploration of the thriller form--is one of his greatest achievements. Comito's introduction considers the film's relation to the tradition of film noir and demonstrates how Welles's mastery of cinematic language transforms the materials of a routine thriller into a work that is at once a sardonic examination of the dark side of sexuality, and elegiac rumination on the loss of innocence, and a disquieting assault on the viewer's own moral and aesthetic certainties. Other contextual materials in the book include a biographical sketch of Welles; an important interview with Welles by Andre Bazin, Charles Bitsch, and Jean Domarchi, available here for the first time in English; an interview with Charlton Heston on the making of the film; representative reviews; critical essays by William Johnson, Jean Collet (translated especially for this book), and Stephen Heath; an analysis of the relation of the complete film to Welles's recently discovered shooting script; and a filmography and bibliography. The continuity script collates the two available versions of Touch of Evil and provides an invaluable, shot-by-shot guide through the visual and audio complexities of Welles's masterpiece. |
|
|
|
|
[¹è¼Û·á]
±âº»¹è¼Û·á 2,500¿ø 5¸¸¿øÀÌ»ó ¹è¼Û·á¹«·á
[¹æ¹®±¸¸Å]
¼îÇθô»óÀÇ µµ¼´Â ¸ÅÀå¿¡ Àç°í°¡ ¾ø°í ¾çÁÖµµ¼Ã¢°í¿¡ ÀÖ´Â °æ¿ì°¡ ¸¹ÀÌ ÀÖ½À´Ï´Ù.
¼îÇθôµµ¼¸¦ Á÷Á¢ ¸ÅÀåÀ¸·Î ¹æ¹®±¸¸ÅÇÏ½Ã°í ½ÍÀ¸½Ç¶§¿¡´Â ¹æ¹®ÇÏ·çÀü ¹Ì¸® ¿¬¶ôÀ» ÁÖ¼Å¾ß ¸ÅÀå¿¡ µµ¼Áغñ°¡ °¡´ÉÇÕ´Ï´Ù | |
»óÅ°¡ ÁÁÀº µµ¼¸¦ À§ÁÖ·Î Ãë±ÞÇÏ·Á°í ³ë·ÂÇÏ°í ÀÖÀ¸³ª Áß°íµµ¼ÀÇ Æ¯¼º»ó °³ÀÎÀÇ °üÁ¡Â÷°¡ ÀÖ°í °í°´´Ô¿¡µû¶ó »õÃ¥°ú ´Þ¸® µµ¼ÀÇ »óÅ°¡ ¶³¾îÁö°Å³ª ³ª»Ú°Ô »ý°¢µÇ¾îÁö´Â °æ¿ì°¡ °£È¤ÀÖ½À´Ï´Ù. µµ¼ÀÇ »óŸ¦ [»ó][Áß][ÇÏ]·Î Ç¥½ÃÇÏ¿´°í ƯÀÌ»çÇ×Àº ¼³¸íÀ» ÷ºÎÇÏ°í ÀÖÀ¸´Ï ÁÖ¹®Àü¿¡ »óŸ¦ ²À È®ÀÎÇÏ¿© ÁÖ¼¼¿ä.
ÀÚ¼¼ÇÑ µµ¼ÀÇ Á¤º¸°¡ ±Ã±ÝÇϽŠ°æ¿ì¿¡´Â ¾Æ·¡ Á¦Ç°Q&A¸¦ ÀÌ¿ëÇÏ¿©ÁÖ¼¼¿ä |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
»óÇ°¿¡ ´ëÇØ ±Ã±ÝÇÑ Á¡À» ÇØ°áÇØ µå¸³´Ï´Ù. |
|
|
¹øÈ£ |
|
Á¦¸ñ |
ÀÛ¼ºÀÚ |
ÀÛ¼ºÀÏ |
Á¶È¸ |
|
|
|
|