• 한국콘텐츠학회논문지
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• 제21권7호
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• pp.30-44
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• 2021

본 연구는 소피아 코폴라 감독의 초기 연출 작품인 <처녀자살소동>과 <마리 앙투아네트>를 분석하여 그녀가 말하는 여성에 대한 사회적 프레임을 알아본다. 그리고 그 세계관이 이어지는 작품인 <블링링>과 <매혹당한 사람들>과의 관계도 살펴본다. 코폴라 감독이 작품에서 직접적인 메시지 전달 방법을 사용하지 않았기에 영상표현방법 분석을 통해 그녀의 메시지를 파악해 본다. <처녀자살소동>의 불확실한 결론을 정리하고, 평가가 엇갈리며 논란이 잦았던 작품인 <마리 앙투아네트>에 대한 재평가를 유도하고자 한다. 비교 분석을 통해 두 작품은 서로 크게 다르지 않은 일관된 시각이었으며, 오히려 그 세계관이 발전하는 과정이었음을 밝혀보고자 한다. 이 두 작품에 의해 내려진 여성세계에 대한 감독의 결론이 그녀의 다음 작품에서 또 다른 논란의 소재가 되는 내용으로 연결되기에, 이 작품들에 대한 분석은 소피아 코폴라 감독과 그녀의 다른 작품 이해에도 도움이 될 것을 기대한다.

• 복식
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• 제62권1호
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• pp.120-136
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• 2012

This thesis takes an aim to investigate the relationship between the costume and enlightenment ideology by studying the change of costume, and reviewing the portraiture of Queen Marie Antoinette. The method of this research is to select the 29 pieces among the portraitures from 1770 to 1793, and to analyze the headdress, shape of robes and ornaments. The results are as follows. The first period(1770-1774): The costume in this period of Dauphin of France is described as vivid, and simple like her characters, and also represents her active lifestyle. The ideology of equality between the two sexes from the enlightenment slightly influence the costumes seen inside the portrait of Dauphin. The second period (1775-1779): This is the early period of the Queen's enthronement and also before her childbirth. The relatively small number of portraits showed her as an authoritative figure because her skirts were expanded with huge panier, the waist were tightened with corset, and her headdress was enlarged. Thus, this period could not be defined as the one of enlightenment philosophies in light of the persistent unsanitary construction of costumes distorting the body. The third period(1780-1789): There are many portraits depicting the Queen and her children. It is noteworthy that the English style picturesque garden was illustrated as a background while the costume was simple and sanitary, both being affected by the enlightenment. The last period(1789-1793): This is the period between the French revolution and the death of the Queen. The form of costumes was transformed into the neoclassic style, headdress was reduced in size, and was simplified as a result of complete change of costume for the enlightenment. This research is to be interpreted as a tool of study about the relationship of costume, society and ideological streams and also be a means of elucidating the contemporary times in view of the past ones.