칭기스 아이트마토프의 장편 소설 『하얀배』의 새로운 영상화, 영화 ≪샴발라≫ 연구

초록

In this paper, we will only discuss which part of the film Shambhala brought for visualization and how it was depicted on the screen in cinematic language, that is, audiovisual language. In particular, most of this paper will be assigned to the latter. This is because even if it is an image of a literary work, the moment it is made into a film, the work must be evaluated as an individual work and must not be bound by the content and form of the original work. However, it will be inevitable that the evaluation of the completeness of the film is compared to that of the original. Unlike the film White Boat, in which the original novel was relatively faithfully transferred to the screen, Shambala retained the narrative framework of the original novel, but reorganized the narrative simply by intensively using several major motifs. The main motifs chosen by this film in the original work include a mother deer with horns and a legend about it, major characters including a boy, and a family affair, especially the infertility and white belly of the Becky couple. Among them, the most important thing in the film Shambhala is to embody the boy’s desire to visit his father. Key Words Film Shambala, Novel White Boat, Film White Boat, Kyrgyzstan

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