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장민용(Jang Min Yong) 한국영화학회 2011 영화연구 Vol.0 No.50
Japanese-American independent filmmaker, Rea Tajiri’ addresses the inheritance of imprecise and elliptical familial memories of a traumatic event in history that involved their relocation to the Japanese-American internment camps in the United States following the Japanese attack on Pearl Harbor during the Second World War in 〈History and Memory〉(1991). Tajiri pays particular attention to her mother’s memory of the event - which is so incomplete it approaches the condition of amnesia - in order to investigate the way generational silences and fissured memories of the past have affected her own sense of identity and memory. Her mother’s silence is accompanied by a further absense of images : photographs of the internment were illegal and thus her family has none in their possession. In order to reconstruct these silences, gaps and holes back into forms of personal memory and history, Tajiri must access the past through public archives, records, documents, popular culture and finally through the remains of the camps themselves. By investigating the process by which some images are made to construct official history, while others simply disappear, Tagiri’s work itself, becomes a new working historical document. Moreover, the missing images of her inherited past inaugurate a physical return to the site of her mother’s internment. Tagiri tries to render the invisible visible again through representation. Tagiri’s journey back is made in order to construct new, alternative images for an event that has no such image yet. She attempts to render a presence out of absence. Her video is thus constructed out of, she says on the soundtrack, “the search for an ever absent image and the desire to create an image where there is none.” Through this precess of returning to the past makes new images of an invisible, forgotten and buried past, creating a mnemonic text in the process. Tagiri’s ‘History and Memory’ is a project of making what was invisible in history and in memory, visible again, “I can forgive my mother her loss of memory”, she says on the sound track, “and make this image for her.”
장민용(Jang Min Yong) 한국영화학회 2009 영화연구 Vol.0 No.40
The films of Su Friedrich work to rewrite personal memory and public history subjectively. Three films of Su Friedrich, Gently Down the Stream, The Ties That Bind, and Sink or Swim are the work of remembering. She employ the language of Avant-garde cinema in order to deal with political and ideological issues and identity, culture and history. Memory is not a phenomenon of the past but, more fluidly of both the past and present. Assessing memory enables this filmmaker to flesh out meanings that are otherwise not directly visible. In Gently Down the Stream, Friedrich explores her own sexual identity through remembering her dreams. The Ties That Bind, and Sink or Swim are remembering text. In The Ties That Bind, Friedrich, though she claims not to remember her mother's war stories, makes film that bears witness to her mother's memory, infusing it with a sense of personal and historical responsibility. In Sink or Swim, with her father absent from the film, Friedrich remembers him. By addressing the realities of her relationships with her father, Friedrich addresses larger social and cultural issues regarding parents and children, gender and family. Both personal memory and public history are overlayed on to the vicissitudes of the self. The line that she traces is connected generally through the past of her parent. She encounter representational questions, solutions and forms that both test the limits of representation but also create new form of representation in the process. Friedrich rigorously test and experiment with film language in order to convey memory, history and the self. She experiments with film materiality and form. But she does in order to engage with new representational strategies of the self, as it relates to the identity, gender, sexuality and the personal and public past.
장민용(Jang Min Yong) 한국영화학회 2004 영화연구 Vol.0 No.24
Experimental Films have been interested in the ways which reality transforms into unique, essential cinematic vision. Thus we have to seek to how to change real world into unique cinematic world. Many experimental filmmakers have changed the perceived vision into filmic vision throughout a lot of ways. Physical world which captured from camera lens transforms into cinematic world by recording on the celluloid. We can imagine that experimental film has developed throughout the ways which change representational imagery or studies on techniques. Historically, experimental filmmakers have shown an almost obsessive fascination with the relationship of the human eye to the camera eye. The eye is both the source of filmic vision and matrix for avant -garde film theories of perception. One important transforrnatory aesthetic has been a reexamination of the meaning of the single film frame. Heretofore, it has been common to view film's most basic unit as the 'shot' which is composed of many frames of film photographed from the same camera position. A film was thus simply a series of shots linked together by editing. By emphasizing the single frame, the filmmaker can intensify the viewing experience as more information can be squeezed into each single frame. It can also mean that the conventional illusion of motion is revealed. Another major part of the aesthetics of transformation lies in the questioning conventional film technique. Experimental film's technique can be much more open and diffuse compared to conventional film, In one sense, there are no technical mistakes in an experimental film, In fact, technical mistakes and flaws may better reveal the fabric of filmic reality by exposing illusions that conventional technique attempts to hide. Instead of an absolute hierarchy of technical laws, each experimental film must be evaluated independently by its own use of technique Experimental filmmakers have attempted to find out the interrelationship between camera and the person behind it. As the eye and camera lens become one, man and machine are united in a tenuous relationship. One critical feature of experimental film is the effort to make film a human, not a mechanical, form of art. In other words, filmic transformation means the desire of experimental filmmakers to change a mechanical means of perception into a human vision.
장민용(Jang Min Yong) 한국영화학회 2010 영화연구 Vol.0 No.43
The question that I wish to address in this study is how we can understand experimental films, given that they are highly subjective and non-narrative forms. Many experimental films lack an identifiable plot or theme. By using space as a mode of analysis, we are at the least able to give some order to the often confusing form and content. I selected some important experimental films to evaluate and tried to see how these works were able to expand their limits that cinema originally has in itself. First, I examined a aspect of expansion of filmic space through relationships between on-screen and off-screen space. Ken Jacobs's 〈Blond Cobra〉(l962), George Landow's 〈Film in which There Appears Sprocket Holes, Edge Lettering, Dust Particles, Etc.〉(1965 - 66) show how the film maker utilized cinematic space. They are attempts to ask the relationship between on-screen space and off-screen space and expand the space of a frame while still remaining within its rectangular borders. Michael Snow's 〈Wavelength〉 can be the archetypal film in this articulation of spatial distance. It moves beyond a pure analysis of the room's space to considerations of filmic space and the illusions that constitute it. 〈Wavelength〉 examines space as, in part, a condition of depth and perspective. Another strategy of the avant-garde has been to use a flattened form of film space. In order to explore these features, I analyzed Stan Brakhage and Ed Emshwiller's works. One of the most exciting development in the creation of a unique cinematic space lies in the use of the re-photography process using optical printer. Bruce Baille's 〈Castro Street〉 is a classical example of a film utilizing the refilming process to create a unique filmic space. The films that expanded the possibilities of film aesthetics tend to question and reconfigure the relationship between the camera and its subject. Any critical experimental films tried to explore how film apparatus-finite, two-dimensional, enclosing-confronts space-infinite, three-dimensional, continuous. Thus an examination of films whose subject is principally the depiction of space will be examination of how those films foreground the contradictory nature of their encounter with their subject. From this perspective, I studied some Avant-garde films-William Raban, 〈Angles of Incidence〉(1973), Guy Sherwin, 〈Canon〉(2001),Bruce Baillie, 〈All My Life〉(l966)과 〈Sculptures for a Windless Space〉(l995), Peter Gidal, 〈Room Film〉(1973)- that deals with depiction of place. Finally Filmic space in experimental film is a result of the dialectics of self and world from the perceptual distance. Beyond considerations of technique or composition, the critical nexus of Avant-garde film is how the artist spatializes the imagery of his or her inner world.
장민용(Jang Min Yong) 한국영화학회 2011 영화연구 Vol.0 No.49
We can not understand experimental films as the existing study of mainstream narrative films. Most of experimental films have different values of evaluation which conventional films could have. They have developed unstrict and personal styles. Here, I want to suggest a possible method of study that experimental film can create the structure of filmic time and I am sure that it can deliver valuable meaning for the aesthetics of experimental film. First, the temporal duration of film can determine of its meaning. Second, the shape of the film can create the impression of it. Conventional narrative film utilize a linear vector of development. But, in many experimental films, the time vector can have many shapes such as a circular, vertical, spiral one. One final aspect of time aesthetics of experimental film is related of editing process. One critical transformation of the experimental film is the increasing use of collage techniques rather than montage. It tears the imagery out of spatial continuity and restructures it in a temporal continuum by using the filmmaker’s personal cinematic logic. Freed from the representational demands of montage, the filmmaker can evolve a personal logic that temporally coheres the image. Editing in the experimental film can reveal a lot about the filmmaker’s personal expression of energy. Filmmakers can shape of the flow of the imagery from the energy.
장민용(Jang, Min Yong) 한국전시산업융합연구원 2015 한국과학예술융합학회 Vol.19 No.-
<환송대>와 이 영화에서 영감을 받아 제작된 <12 몽키즈>의 영화적 재현이 가진 특성을 분석하는 과정은 그 플롯과 소재가 유사함에도 불구하고 각각이 추구하는 재현체계의 특성과 관습에 따라 다른 영화로 만들어질 수 있다는 것을 보여준다. <환송대>는 흑백의 사진 이미지를 사용해서 불확실하고 임의적인 영화 재현의 방식을 사용해서 유한한 시간 속에서 인간이 경험하는 실존적인 불안과 고뇌의 모습을 실험적인 형식으로 보여준다. 반면 <12 몽키즈>는 명백하게 고전적인 할리우드 영화의 규범과 관습을 따른다. <12 몽키즈>는 영웅을 중심으로 개인적이고 심리적으로 동기 부여된 플롯, 안정적이고 고정적인 공간구성, 선형적인 시간구조, 그리고 완결되는 결말을 위해서 원작에서 없던 여러 플롯과 인물, 그리고 사건을 추가하고, 무엇보다도 <환송대>의 영화적 특성인 시간의 시각화를 공간의 시각화로 변형시킨다. 또한 두 영화의 차이는 시간여행과 감시의 메커니즘을 재현하는 미장센을 통해서도 확인할 수 있다. 할리우드 영화인 <12 몽키즈>의 재현 체계가 가시성과 투명성에 전적으로 의존하고 있는 반면 <환송대>는 텍스트의 재현적 관계로부터 벗어난 이미지의 시간적 사유를 광범위한 감각의 스펙트럼을 통해 표현한다. 또한 두 영화는 사랑과 죽음을 다루는 방식에서도 각각의 영화적 재현형식을 특징짓는 호기심과 머무름의 미학을 반영함으로써 표면상 동일해 보이는 사건이 전혀 다른 담론 안에 위치시킨다. Despite of similar plot, the process of analyzing the characteristics of cinematic representation between La Jetee and 12 Monkeys to have drawn inspiration from La Jetee demonstrates the possibility of making different quality of works according to the particular system of cinematic representation. La Jetee composed of static still images represents the existential agony and anxiety which human being experienced within finite time with experimental form. While 12 Monkeys follows trajectory of the norm and custom of the Classical Hollywood film. It adds several plots, characters, and events which do not have La Jetee. They make it possible to construct the plot that motivated individual, psychological hero, stable and fixed filmic space, linear temporality, and absolute closure. In particular, they could transform the visualization of time into that of space. The difference between these two films reveals the mise-en-scene of time-travel and surveillance. While 12 Monkeys adopted Hollywood system widely relies on absolute visuality and transparency, La Jetee represents the temporal thinking of images that get out of the relationship between text and image through wide range of senses. Besides, Each of these SF films treats the themes of love and death in terms of the aesthetics of "curiosity" and "dwelling". It allows to situate quite different discourse seemingly identical event.
스파이크 리 감독의 영화 <똑바로 살아라>의 도시교향곡적 형식의 특성
장민용(Jang, Min yong) 한국전시산업융합연구원 2014 한국과학예술융합학회 Vol.18 No.-
스파이크 리는 <똑바로 살아라>는 현재 미국의 인종차별과 다민족성의 문제, 그리고 부의 불평등 등 당면한 사회적 이슈들을 ‘도시교향곡’의 형식을 통해 효과적으로 보여준다. <똑바로 살아라>의 전반적인 영화 구조는 <베를린: 대도시의 교향곡>을 비롯한 여러 도시교향곡의 형식적인 구조를 반영하고 있으며, <오직 시간만이>와 같이 도시민의 개별적인 사람들의 생활에 집중한다. <똑바로 살아라>에서는 일반적으로 할리우드 영화뿐만 아니라 독립영화에서도 다루지 않는 주변적인 캐릭터들을 등장시키고 서로 연관시키면서 대도시의 사회문제, 특히 인종차별의 문제를 제기한다. 또한 자기반영적이고 표현적인 영화형식은 베르토프의 <카메라를 든 사나이>가 가진 영화의 자기반영적인 성격을 공유하고 변주하면서 아방가르드 영화의 실험적인 태도를 보인다. 마지막으로 스파이크 리의 다큐멘터리에 대한 관심과 대안적이고 진보적인 영화제작 방식은 영화에서 주제화한 인종차별과 흑인문화에 대한 사회적 관심을 영화제작에 흑인들을 고용하는 형태를 통해 현실에서 확장시킨다. 스파이크 리는 <똑바로 살아라>에서 상업영화에서 시도하기 어려운 주제와 형식의 실험을 통해 독창적인 영화를 창조하였다. 더욱이 내러티브 영화임에도 불구하고 도시생활을 다루는 영화의 관습과 형식을 사용하고 확장시켜 현대의 대도시의 생활과 문제를 전면에 드러내는 현대의 도시교향곡을 완성하였다. Do the Right Thing made by Spike Lee effectively demonstrated the current social issues in America , such as racial discrimination, the issue of multiethnicity, and wealth inequality throughout the a form of city symphony. The overall structure of Do the Right Thing reflected that of the traditional city symphony including Berlin : Symphony of a Big City and concentrated on individual people like Nothing but the Hours. Do the Right Thing include and meet each other the marginalized characters that usually don"t make appear in the commercial cinema, or even in independent cinema. Their relationship reveals the problem of social issues in the big city especially racism. Moreover, throughout self-reflexive, expressive cinematic form in Do the Right Thing echoes and play a variation Vertov"s The Man with a Movie Camera, it shows the experimental attitude of Avant-garde cinema. Finally, Spike"s interest in documentary and alternative and progressive production process expand the horizon of the social issues focused on racism and Afro-centered culture by hiring black people. Spike Lee created the original work in finding ways of representing the reality by trying thematic and formal experiment that would be difficult in commercial filmmaking. Moreover, even though Do the Right Thing is the narrative film, he completed city symphony that foreground the city"s life and issues using the cinematic convention and form dealing with city"s life.
장민용 ( Min Yong Jang ) 한국기초조형학회 2014 기초조형학연구 Vol.15 No.6
이 글은 홍콩의 중국반환이라는 시대의 전환기를 이해하기 위한 영화적 실천으로 홍콩의 영화감독 관금붕이 <완령옥>에서 시도한 영화형식의 실험을 분석했다. 이 글은 <완령옥>을 포스트모더니즘 영화 텍스트로 간주했다. 영화에는 ‘상호텍스트성’을 드러내는 메타 내러티브 영화 구조가 사용되었다. 1990년대 홍콩영화의 스타인 장만옥은 1930년대 중국의 무성영화 스타인 완령옥을 연기하고, 홍콩의 영화 스텝은 과거의 무성영화를 리메이크한다. 원로 배우들의 인터뷰 비디오 화면과 거기에 대한 배우들의 반응은 과거와 현재를 연결시킨다. 또한 관금붕은 영화 매체의 고유성을 전면에 내세우는 ‘자기반영성’을 이용한다. 영화에서 자기반영성은 카메라, 영사기, 조명 등영화장치를 화면에 등장시키고, 자연스러운 내러티브의 흐름을 방해하고, 이질적인 담론을 병치시키며, 다큐멘터리와 허구를 혼용하는 일련의 방식들이 포함된다. 영화제작의 과정을 드러내는 것은 내러티브의 흐름을 방해하고 의미 또는 행위의 근원으로서 일관성 있고 자기충족적인 영화 개념의 토대를 손상시킨다. 이와 같이 <완령옥>은 매체 자체의 표현 수단을 전경화시켜 관객들에게 과거와 현재 그리고 역사와 재현, 창작과 비평사이의 관계를 점검할 수 있는 기회를 제공한다. 이를 통해 <완령옥>은 관객들에게 지나간 역사적 사실에 대해 이야기하기 보다는 우리는 어떻게 역사에 대해 알게 되는가에 대한 논의에 관객을 참여시킨다. This study analyzed the cinematic experiment in Stanley Kwan``s Actress to understand the context of Hong Kong`` return to China. This essay regards Actress as a postmodern text. Actres semploys an intertextual form that involves the film``s meta-narrative-cinematic structure. MaggieCheung, a film star of the 1990s, impersonates Ruan Lingyu, a silent-screen star of the 1993s;Hong Kong film crew reconstructs the classic film’s footage; and documentary-like interviews with the veteran actors and commentaries link past and present. The concept of self-reflexivity refers to the process by which texts foreground their own production, their authorship, theirintertextual influences, their intertexual process, or their reception. Moreover, self-reflexivity in cinema might well include the designation of the apparatus (camera, monitors, switches); the disruption of the narrative flow; the juxtaposing of heterogeneous slices of discourses; and the mixing of documentary and fictive modes. Exposure of the filmmaking process disrupts the narrative flow and undermines the notion of a coherent and self-sufficient subject as the source of meaning or action. The presence of cameras, monitors, and technicians erases theusual concealment of the mechanism, dissolving the line between cinematic representation and the articulation of representation. In thus revealing its own means of expression, the process enables viewers to examine the relation between past and present, between history and representation, between creation and criticism. Actress makes viewers participate in discussions about how to realize the history rather than the history as past .