보이스오버(Voice-over)를 통해 본 영화 속 판소리 창(唱)의 기능과 의미

초록

This study aims to examine the different ways in which chang (唱), the sung performance of pansori, functions as a cinematic voice-over when inserted into Korean films, transcending its traditional role as background music or sound effect. Chang simultaneously performs multiple narrative functions: advancing the storyline, delivering editorial commentary, and expressing the inner emotions of characters, fluidly moving between the voices of narrators and characters alike. These qualities have parallels in cinematic voice-over, which operates both from outside and within the diegesis, either governing the story as a whole or giving voice to the inner lives of characters. Drawing on major works available in the Korean Movie Database (KMDB)-including Shin Sang-ok's Seong Chunhyang (1961) and Yeollyeomun (1962), Kim Ki-young's Yangsando (1955), Lee Doo-yong's The Last Witness (1980), and Jang Il-ho's Nanjung Ilgi (1978)-this study analyzes the voice-over functions of chang in Korean cinema. Voice-over through chang is categorized into two primary types: a narratorial voice-over originating outside the diegesis and governing the story as a whole; and a voice-over embedded within the story, substituting for a character's inner monologue or standing-in for written documents such as letters and last wills. Furthermore, this study posits that voice-over constituted through chang possesses distinctive characteristics that resist full classification within existing voice-over typologies. Just as pansori lyrics freely blend with, and penetrate the perspectives of narrator and character, voice-over through chang-in conjunction with camera movements-dissolves the boundary between the interior and the exterior of the diegesis, facilitating an intense emotional engagement for the audience. This structural affinity between the two forms derives from a shared condition: both pansori and cinema must convey their narratives through a single, unified medium of transmission.

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