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Aesthetics and Meaning of Split Screen: Focusing on Feature Film

화면 분할의 미학과 의미 - 극영화를 중심으로

  • 장우진 (아주대학교 미디어학부)
  • Received : 2011.11.24
  • Accepted : 2012.01.03
  • Published : 2012.01.28

Abstract

In this paper, I examine the history of split screens, primarily seek to explain types of them, and explore the narrative meaning of each type in feature films. In short, I try to categorize the types of split screens and present a figure of them according to events and characters, focusing the relations between/among simultaneous images and narrative meanings. In addition, I assert that split screen have altered some methods of filmic storytelling and the ontology of screen. Story lines no longer have to be linear and the screen need not to remain a window through which we can see another world. The screen has come to be a canvas upon which several images can be arranged for narrative purposes.

Keywords

Split Screen;Types of Split Screens;Feature Film;Filmic Storytelling;Window;Canvas

Acknowledgement

Supported by : 한국연구재단

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Cited by

  1. A Case Study on Pillow Talk(1959) and Down with Love(2003): Split Screen in Romantic Comedy Films vol.14, pp.3, 2014, https://doi.org/10.5392/JKCA.2014.14.03.080