셰익스피어와 가족의 부재: <모두 진실이다>와 <심벨린>에서 영상화된 아버지와 자식의 부재 양상 중심으로

초록

This study attempts to give an account of the two screen representations of Shakespeare in the context of the theme of familylessness: All Is True, a 2018 British film and Cymbeline, a 2014 American film. The state of being familyless represented in them is bound up with that of being fatherless, which is inseparable from that of being childless. The study intends to underline the similarity between these two movies, that is, the portrayal of a father who is disheartened by the absence of a male heir and unable to form a father and daughter bond, thereby providing discourage and disorientation where there is family conflict. Both films weigh what an effect the absence of a father figure has on his family, but at the same time they envision family life about transformation. In the beginning the image of a father depicted in them is bound by tradition, by authority, and by the notion that he defines as to how the family should be like. As the film progresses, the father of the family is in the process of discovery and realization. His attitude of mind veers off in a different direction, due to the situations that test and push him further. The two films reinforce how devastating everything in a family conflict is, and how reassuring everything in a family reconciliation is. In those terms they can be seen as testimony to a recognition that there is little in the family that is not directly comprehensible.

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