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This paper attempts to look into the concept of film form in Shin Jeong Beom' s film <Besame mucho>. Making a comparative study of the diverse concepts of film form, generated by Béla Balázs, Jean Epstein, Georg Simmel, it aimed to review how magic realism theorists described the close-up in a film when sensation consumes the spectator with an overwhelming and indescribably profound intensity. Magic realism is a style of visual art which brings extreme realism to the depiction of mundane subject matter. In painting, magic realism is a term often used interchangeably with post-expressionism. In 1925, art critic Franz Roh used this term to describe painting which signaled a return to realism after expressionism's extravagances which sought to redesign objects to reveal the spirits of those objects. Magical realism, according to Roh, instead faithfully portrays the exterior of an object, and in doing so the spirit, or magic, of the object reveals itself. Into emaciated look movie enemy of magic realism, trying to define the meaning of close up in a film image, Béla Balázs describes it as the moral character of every mobile and personal aspects of the world, beings or souls that are enhanced by film reproduction. Jean Epstein is focusing on the power of the close-up that could apply to the movement of the close-up. The close-up is designed to account for that which is inarticulable, that which exceeds language and hence points to the very essence of cinematic specificity. They asserts that the close-up represent the sublime moment individual, personal, and subjective, suggesting that it cannot be defined absolutely or resolved conclusively. It is through this stylistic technique that we are able to reveal human subjectivity in film. I wishes to analyze by this magic realism's ideologie.

magic realism, close-up, post-modernism, film form