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  µ¿½ÃÁ¢¼ÓÀÚ:     067
 
ÀÛ¼ºÀÏ : 12/11/09
2013Çг⵵ ¼ö´É ¿Ü±¹¾î ¿µ¿ª 21¹ø Çؼ³
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2013³â ¼ö´É ¿Ü±¹¾î ¿µ¿ª 21¹ø Á¤´ä ¹× Çؼ³ - ¼Û°î´åÄÄ(songgok.com)
 
 21. ´ÙÀ½ ±ÛÀÇ ¹ØÁ٠ģ ºÎºÐ Áß, ¾î¹ý»ó Ʋ¸° °ÍÀº
 
We take it for granted that film directors are in the game of recycling. Adapting novels ¨çis one of the most respectable of movie projects, while a book that calls itself the novelization of a film is considered barbarous. Being a hybrid art as well as a late one, film has always been in a dialogue with ¨èother narrative genres. Movies were first seen as an exceptionally potent kind of illusionist theatre, the rectangle of the screen corresponding to the proscenium of a stage, ¨é which appear actors. Starting in the early silent period, plays were regularly ¡°turned into¡± films. But ¨ê filming plays did not encourage the evolution of what truly was distinctive about a movie: the intervention of the camera ¡ªits mobility of vision. As a source of plot, character, and dialogue, the novel seemed more ¨ësuitable. Many early successes of cinema were adaptations of popular novels.   * proscenium: ¾Õ¹«´ë
 
1. ³»¿ëÇ®ÀÌ
¹®¸Æ»ó the proscenium of a stage¸¦ ¼±Çà»ç·Î ÇÏ´Â <ÀüÄ¡»ç+°ü°è´ë¸í»ç>ÀÇ ÇüÅ°¡ µÇ¾î¾ß ÇϹǷÎ, which°¡ on which·Î ¹Ù²î¾î¾ß ÇÔ.
 
2. ±¸¹®Çؼ³
¨ç [We take it for granted that film directors are in the game of recycling. Adapting novels ¨çis one of the most respectable of movie projects, while a book (that calls itself the novelization of a film) is considered barbarous.]
 
¡Ø take it for granted that~:~À» ´ç¿¬ÇÏ°Ô ¿©±â´Ù(it:°¡¸ñÀû¾î/that~:Áø¸ñÀû¾î) ¡Øone of the ÃÖ»ó±Þ +º¹¼ö¸í»ç: ~°¡Àå ~ÇÑ°ÍÁßÀÇ Çϳª ¡Øwhile: ¹Ý¸é¿¡ ¡Ø a book (that calls itself the novelization of a film) is considered barbarous: thatÀº ÁÖ°Ý°ü°è´ë¸í»ç·Î a book À» °¡¸®Å°°í ÀÖÀ¸¸ç itself ¶ÇÇÑ bookÀ» °¡¸®Å´. ¡Øthe novelization of a film:¿µÈ­ÀÇ ¼Ò¼³È­    ¡æ ¿ì¸®´Â ¿µÈ­°¨µ¶µéÀÌ ÀçÈ°¿ë °ÔÀÓÀ» ÇÏ°í ÀÖ´Ù´Â °ÍÀ» ´ç¿¬½ÃÇÑ´Ù. ¼Ò¼³À» °¢»öÇÏ´Â °ÍÀº °¡Àå ÈǸ¢ÇÑ ¿µÈ­ ÇÁ·ÎÁ§Æ®µé Áß ÇϳªÀÎ ¹Ý¸é, ¿µÈ­¸¦ ¼Ò¼³È­Çß´Ù°í Çϴ åÀº »ó½º·´°Ô ¿©°ÜÁø´Ù.
 
¨è [Being a hybrid art as well as a late one, film has always been in a dialogue with other narrative genres.]  ¡Ø Being a hybrid art as well as a late one = As film was a hybrid art as well as a late one(=art). ¡æ ÈÄ¹ß ¿¹¼úÀ̸鼭 µ¿½Ã¿¡ È¥ÇÕ ¿¹¼úÀ̱⵵ ÇÑ ¿µÈ­´Â ´Ù¸¥ ¼­»ç À帣¿Í Ç×»ó ´ëÈ­¸¦ ÇØ¿Ô´Ù.
 
¨é [Movies were first seen as an exceptionally potent kind of illusionist theatre, the rectangle of the screen (which is) corresponding to the proscenium of a stage, on which appear actors.]
 
¡Ø an (exceptionally potent) kind of illusionist theatre: (Ưº°È÷ À¯·ÂÇÑ) ÀÏÁ¾ÀÇ ¸¶¼ú °ø¿¬Àå = the rectangle of the screen: Á÷»ç°¢Çü ¸ð¾çÀÇ È­¸é = the proscenium of a stage:¾Õ ¹«´ë. ¡Ø on which appear actors: ¿©±â¼­ which´Â ÁÖ°ÝÀÌ ¾Æ´Ï¸ç, ÀüÄ¡»ç onÀÇ ¸ñÀû¾î ÀÓ¿¡ À¯ÀÇ Çϼ¼¿ä¡æ µµÄ¡µÈ ¹®ÀåÀÔ´Ï´Ù. ¿ø¹®ÀåÀº on which actors appear ¡æ actors appear (on the proscenium of a stage).     ¡æ Á÷»ç°¢Çü ¸ð¾çÀÇ È­¸éÀÌ ¹è¿ì°¡ Ã⿬ÇÏ´Â ¾Õ¹«´ë¿Í À¯»çÇÏ°Ô º¸À̸鼭, Ãʱ⿡ ¿µÈ­´Â Ưº°È÷ À¯·ÂÇÑ ÀÏÁ¾ÀÇ ¸¶¼ú °ø¿¬ÀåÀ¸·Î º¸¿´´Ù.
 
¨ê [Starting in the early silent period, plays were regularly ¡°turned into¡± films. ]
¡æ ÃÊâ±â ¹«¼º ¿µÈ­±â¸¦ ½Ã¹ßÁ¡À¸·Î ¿¬±ØÀº ÀÚÁÖ ¿µÈ­·Î ¡®Àüȯ¡¯µÇ¾ú´Ù.
 
¨ë [But filming plays did not encourage the evolution of what truly was distinctive about a movie: the intervention of the camera ¡ªits mobility of vision.]
¡Ø what truly was distinctive about a movie(¿µÈ­¿¡ À־ Á¤¸»·Î µ¶Æ¯Çß´ø Á¡¡æwhatÀº ¼±Çà»ç¸¦ Æ÷ÇÔÇÑ °ü°è´ë¸í»ç) = the intervention of the camera(Ä«¸Þ¶óÀÇ °³ÀÔ) = its mobility of vision(½Ã°¢ÀûÀÎ ±âµ¿¼º)   ¡æÇÏÁö¸¸ ¿¬±ØÀ» ¿µÈ­È­ÇÏ´Â °ÍÀº ¿µÈ­ÀÇ ÁøÁ¤ÇÑ µ¶Æ¯ÇÔ, Áï Ä«¸Þ¶óÀÇ °³ÀÔ, ´Ù½Ã ¸»ÇØ ±×°ÍÀÇ ½Ã°¢Àû ±âµ¿¼ºÀÇ ¹ßÀüÀ» Á¶ÀåÇÏÁö ¸øÇß´Ù.
 
¨ì [As a source of plot, character, and dialogue, the novel seemed more suitable. Many early successes of cinema were adaptations of popular novels.]   ¡Øplot: ÁٰŸ®, À½¸ð, ÀÛÀº ÅÔ¹ç ¡Øseemed more suitable: seem + Çü¿ë»ç: ~ÇÏ°Ô º¸ÀÌ´Ù  ¡æÁٰŸ®, µîÀåÀι°, ´ëÈ­ÀÇ °ø±Þ¿øÀ¸·Î¼­ ¼Ò¼³ÀÌ (¿¬±Øº¸´Ù ¿µÈ­¿¡) ´õ ÀûÇÕÇØ º¸¿´´Ù. ¿µÈ­ÀÇ Ãʱ⠼º°øÀÛÀÇ ´Ù¼ö°¡ À¯¸í ¼Ò¼³À» °¢»öÇÑ °ÍÀ̾ú´Ù.
 
3. ´Ü¾îÁ¤¸®
*take ~ for granted ~À» ´ç¿¬ÇÏ°Ô ¿©±â´Ù *recycling ÀçÈ°¿ë *adapt °¢»ö[°³ÀÛ]ÇÏ´Ù, ÀûÀÀÇÏ´Ù *respectable Á¸°æÇÒ ¸¸ÇÑ *novelization ¼Ò¼³È­ *barbarous »ó½º·¯¿î, ¾ß¸¸ÀûÀÎ *hybrid È¥ÇÕ, ÀâÁ¾ *potent À¯·ÂÇÑ, °­ÇÑ, È¿´É ÀÖ´Â *illusionist ¸Á»ó, ȯ°¢, ȯ»ó * illusionist theatre:¸¶¼ú±ØÀå *correspond to ~¿Í ÀÏÄ¡ÇÏ´Ù (correspond with:~¿Í ¼­½ÅÀ» ±³È¯ÇÏ´Ù) *distinctive µ¶Æ¯ÇÑ *evolution Àü°³, ¹ßÀü, ÁøÀü *intervention °³ÀÔ *mobility ±âµ¿·Â, À¯µ¿¼º *plot: ÁٰŸ®, À½¸ð, ÀÛÀº ÅÔ¹ç
 
4. Àü¹®Çؼ®
¿ì¸®´Â ¿µÈ­°¨µ¶µéÀÌ ÀçÈ°¿ë °ÔÀÓÀ» ÇÏ°í ÀÖ´Ù´Â °ÍÀ» ´ç¿¬½ÃÇÑ´Ù. ¼Ò¼³À» °¢»öÇÏ´Â °ÍÀº °¡Àå ÈǸ¢ÇÑ ¿µÈ­ ÇÁ·ÎÁ§Æ®µé Áß ÇϳªÀÎ ¹Ý¸é, ¿µÈ­¸¦ ¼Ò¼³È­Çß´Ù°í Çϴ åÀº »ó½º·´°Ô ¿©°ÜÁø´Ù. ÈÄ¹ß ¿¹¼úÀ̸鼭 µ¿½Ã¿¡ È¥ÇÕ ¿¹¼úÀ̱⵵ ÇÑ ¿µÈ­´Â ´Ù¸¥ ¼­»ç À帣¿Í Ç×»ó ´ëÈ­¸¦ ÇØ¿Ô´Ù. Á÷»ç°¢Çü ¸ð¾çÀÇ È­¸éÀÌ ¹è¿ì°¡ Ã⿬ÇÏ´Â ¾Õ¹«´ë¿Í À¯»çÇÏ°Ô º¸À̸鼭, Ãʱ⿡ ¿µÈ­´Â Ưº°È÷ À¯·ÂÇÑ ÀÏÁ¾ÀÇ ¸¶¼ú °ø¿¬ÀåÀ¸·Î º¸¿´´Ù. ÃÊâ±â ¹«¼º ¿µÈ­±â¸¦ ½Ã¹ßÁ¡À¸·Î ¿¬±ØÀº ÀÚÁÖ ¿µÈ­·Î ¡®Àüȯ¡¯µÇ¾ú´Ù. ÇÏÁö¸¸ ¿¬±ØÀ» ¿µÈ­È­ÇÏ´Â °ÍÀº ¿µÈ­ÀÇ ÁøÁ¤ÇÑ µ¶Æ¯ÇÔ, Áï Ä«¸Þ¶óÀÇ °³ÀÔ, ´Ù½Ã ¸»ÇØ ±×°ÍÀǽð¢Àû ±âµ¿¼ºÀÇ ¹ßÀüÀ» Á¶ÀåÇÏÁö ¸øÇß´Ù. ÁٰŸ®, µîÀåÀι°, ´ëÈ­ÀÇ °ø±Þ¿øÀ¸·Î¼­ ¼Ò¼³ÀÌ (¿¬±Øº¸´Ù ¿µÈ­¿¡) ´õ ÀûÇÕÇØ º¸¿´´Ù. ¿µÈ­ÀÇ Ãʱ⠼º°øÀÛÀÇ ´Ù¼ö°¡ À¯¸í ¼Ò¼³À» °¢»öÇÑ °ÍÀ̾ú´Ù.
 
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