서사학계에서 오랫동안 하나의 합의로 여겨져 왔던 채트먼의 서사전달모델은 보드웰의 상호작용모델에 의해 깨어졌다. 보드웰은 서술자에 의한 일방적 전달은 물론 제작자와 관객 사이의 소통을 굳이 전제하는 것이 서사영상물의 이해에 불필요하다고 주장한다. 보여주기 위주의 영상물에서 서술자는 불필요한 존재이며, 관객은 제작자가 아니라 텍스트와 관계를 맺기 때문이다. 본 연구는 양자 사이의 논쟁점 검토에 기반하는 한편, 실제저자와 실제관객 간을 매개한“매개소통공간(space of mediated communication)” 개념을 이용하여 새로운 소통구조모델을 제안하였다. 매개소통공간은 촬영 카메라 뒤에 위치하는 제작자의 자리이며, 동시에 영상물이 상영되는 동안 화면 앞에 관객들이 위치하는 자리이다. 이 매개소통공간에서 서사영상물의 제작자는 스스로 구성한 이야기 세계를 다양한 영상물의 표현요소들(화면, 편집, 대사, 해설 자막, 음악 등)을 관객에게 전달하고, 관객은 단편적인 영상표현요소들을 이용하여 이야기 세계를 재구성한다. 소통공간은 실제 제작자와 실제관객이 현존하는 물리적 공간이면서, 동시에 내포관객과 내포 제작자가 심리적으로 존재하는 공간이기도 하다. 제안된 소통구조모델을 히치콕 감독의 영화인 <이창>의 오프닝 단락에 적용하였다. 세 개의 시퀀스로 이루어진 오프닝의 분석결과에 따라, 이 글에서 제안한 서사소통모델의 타당성을 검토하였다.

Bordwell argued that there is no point of positing communication model, which Chatman had set up as a consensus within narrative studies, for studying the fundamental process to understand narrative movies. They conflicted each other over several issues: whether the communication process is one or two-sided; what an implied author means in context of narrative movies. The weakest point of Chatman’s narrative transmission model is that no narrative can be transmitted by itself. Instead, audience should re-construct the narrative in the movie with the help of piecemeal information in the text. This paper proposed a new model of narrative communication introducing a notion of the space of communication, in front of which actual authors and audience posit themselves. In this model, implied authors and implied audience by Chatman are nothing but psychological entities in the communication space which is mediated by audio-visual technologies. Producers should think over what audience want to watch and hear, while audience should do what producers would like to put into their works. Applying this model of mediated narrative communication to a Hichcock’s classic movie <Rear Window>, we tried to show the validity of narrative communication model. We discussed implications of the notion of ‘space of communication’ which is mediated technically by the camera in front of the director and the screen before actual audience. The space of communication is found to relate the story-space of the movie and the space of actual author and audience, removing the trace of mediation, thus creating the non-mediation.

Bordwell argued that there is no point of positing communication model, which Chatman had set up as a consensus within narrative studies, for studying the fundamental process to understand narrative movies. They conflicted each other over several issues: whether the communication process is one or two-sided; what an implied author means in context of narrative movies. The weakest point of Chatman’s narrative transmission model is that no narrative can be transmitted by itself. Instead, audience should re-construct the narrative in the movie with the help of piecemeal information in the text. This paper proposed a new model of narrative communication introducing a notion of the space of communication, in front of which actual authors and audience posit themselves. In this model, implied authors and implied audience by Chatman are nothing but psychological entities in the communication space which is mediated by audio-visual technologies. Producers should think over what audience want to watch and hear, while audience should do what producers would like to put into their works. Applying this model of mediated narrative communication to a Hichcock’s classic movie <Rear Window>, we tried to show the validity of narrative communication model. We discussed implications of the notion of ‘space of communication’ which is mediated technically by the camera in front of the director and the screen before actual audience. The space of communication is found to relate the story-space of the movie and the space of actual author and audience, removing the trace of mediation, thus creating the non-mediation.

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Visual Narrative, Narrative Transmission, Narrative Communication, Space of Communication, Chatman, Bordwell