한국영상문화학회

This study is designed to look into the possibility ofJean-Marie Floch’s Visual Identity as a film analysis toolwhich combines expression and contents, or temporalityand spatiality. This academic attempt will suggest thepossibility to explore the objective signification that afilm manifests after regarding the film as a sign andanalyzing its whole and parts syntagmatically. Floch’svisual identity not only covers the still image but alsothe story's linear unfolding. A film editing needs aspatial composition, mise-en-scéne in parallel with atemporal combination, montage. Therefore, his visualidentity is regarded as a proper film analysis tool in thatit can treat temporality of a narrative and spatiality ofan image at the same time. And the visual identity looksinto dual dimension of paradigm and syntagm. Thispaper analyzes the visual identity and the narrativeidentity of the film (2010) using thetwo axes of system and process and infers the messageof the film. The film’s narrative identity is that theprotagonist delivers self-preservation after breaking withhis negative characters. The film’s visual identities are heavy color, abnormal composition, uneasy rhythm. Thefilm’s message is the value-recovery aboutunconsciousness and nature. As a result, the filmsignifies that this classical film also delivers theself-preservation after breaking with the existing visualstyle of the classical film and innovating the visualidentity with the existing style of the modern film.