Intertexttuality Between Texts In The Process Of Media Transfer

In general, dream has been becoming as a central motive and an important imaginative origin in the classical literature of the East Asia. A narrative literature which possesses the motif of dream has a tendency to materialize the request and desire of a man through the dream motif in a literary way, and therefore, there is inward consciousness of a man in the context. A literary work, which adapts the motif of a classic narrative literature as a plot, generally shows different forms compared to the original narrative in many ways, and this consequently becomes the starting point for the discussion of the process that transforms the original narrative into a modified novel.The present study tries to investigate aesthetic pursuits, emerged from the process of media transfer such as a novel adapts a classic narrative or a cinema adapts a novel as a motive, i.e., it is tried to find aesthetic traces in the evolution processes that the novel ’Dream’ of Lee Guang-Soo’s employs the classic narrative ’Cho Sinn’s narrative’ as a motivation and the cinemas named ’Dream’ of Sinn Sang-Oc’s and Bae Chang-Ho’s, respectively, bring their motivations from the novel ’Dream’ of Lee Guang-Soo’s. The comparison between the original novel and the dramatized movie is to investigate the process of media transfer such as a novel story becomes a dramatic movie with various modifications.The media transfer between a novel and a dramatic movie can be interpreted as the dramatic movie can possess an aesthetic distance which considerably different to that of the original novel. Therefore, it can be said that the movie which takes the motif from the novel can provide absolutely different aspects of experiences to receivers of the movie. Also, through the process of media transfer, a new meaning is created and aesthetic value is augmented.Consequently, the study to investigate the intertextuality between a novel and a modified movie should have an objectivity to reveal the aesthetic values in the process of media transfer. The aesthetic significance of the study is to find not only a searching for the intertextuality in a point of view of simple story, but also a searching for the aesthetic distance between the novel and the movie. In this respect, the study of media transfer, in general, should be oriented to the aspect of comparing the mutual texts and the aspect of searching for a source that can be given from the characteristics of period in which the text is created. Therefore, the present study is to investigate how the media transfer, which includes a formal and substantial changes of the original text, can provide joyful and profoundly aesthetic meanings to the receivers.Considering that the motif of’Cho Sinn’s narrative’is a dream, a novel or a movie that takes the process of media transfer can have a common structural motif of’Dream’. The novel of Lee Guang-Soo’s’Dream’deals with his inside consciousness of sin, which was inferred from his betraying his fatherland in Japan’s colonial period, with drawing the view of Buddhism. It can be seen from his novel that he had an objectivity, using the motif of a dream, to free himself from his sense of guilt through expressing his justification and rationalization of his conduct during the colonial period. The inward conflict of Cho Sinn’s in his novel’Dream’means a deep burden of his consciousness of guilt after restoring the independent authority of Korea. Thus, the characters and their conflicts between them in his novel represent his consciousness to express his inward distress and to set free himself from his sense of guilt. Lee Guang-Soo tried to express the life of characters in his novel as a bad dream which has to be awake, to reflect and escape his agony in a similar way.In chapter3, esthetic values from the so called’cinematization of a novel’are tried to be revealed in relation to the characteristics of media transfer. In section1of chapter3, it is analyzed that the process of falling in love between Cho Sinn and Dalle and Cho Sinn’s conversion to Buddhism in an aesthetic view of description with a novel and scene of a movie. Especially, it is noticed that the aesthetic enhancement with this transfer of genre is augmented, i.e., a simple description in the novel is transformed to a plentiful scene in the movie.In section2of chapter3, it is tried to show how the materials, which are commonly appeared in a same appearance in the novel and the movie, are changed in the process of media transfer. In particular, a transform of the role of the character is found in the movie, which contrasts to the story of the original novel. The transform of the character is understood as the fact that the intention of the director of the movie is reflected to follow the conditions of commercial and social requirements. Namely, to satisfy the spectators, the director of the movie intentionally adjusts the characters in the original novel into different characters who adapt the preference of the spectators.In section3of chapter3, considering the process of media transfer found in the original narrative, the novel of Lee Guang-Soo’s, and the movies of Sin Sang-Oc’s and Bae Chang-Ho’s, it is observed that the directors of the movies rather follow the motif of the original narrative than the aesthetic motif of the novel. As mentioned earlier, since the novel implicitly discloses the inward consciousness of the author, it is reasoned that the directors of the movies need not to follow directly the description of the character that the author of the novel manages in the novel.Considering that a cinema must reflect the view of a director and the ideology of the period where the director works, the media transfer not only adapts the interactions between the texts, but also includes element which reflects whole society where the director exists. Consequently, it is demonstrated that the concept of the postmodernism can be connected to the concept of the intertextuality between the texts. Mean while, the differences, which appear in the process of media transfer, between the novel and the cinema are generated not only through the method of description the author uses, but also the intention of the author. The intention of the author of a novel or the director of a movie is partly connected to the circumstances of the period where the author live, and this affects to the modification of the character of the original narrative of the novel in the process of producing the cinema. In this standpoint, the cinema ’Dream’ evokes the aesthetic value through adapting the author’s intention and reflecting the elements of the social conditions.In the present study, as a first argument, it is attempted to analyze the process of media transfer, appeared in the transformation of the classic narrative ’Cho Sinn’s narrative’ into the novel ’Dream’ of Lee Guang-Soo’s, where the intention of the author is clearly included. Also, as a second argument, in the media transfer of emerging from the cinematization which adapts the novel as a backbone story, it is tried to reveal that the cinematization process includes the author’s intention and the social characteristics in views of pursuing the artistic work and the commercial profit. Conclusively, it is illustrated that a literary or cinematic work, emerged from the process of media transfer, is created by elements such as the social and cultural backgrounds, the various artistic standpoints, and the inward consciousness of the author’s.