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- 저자 : 조성훈 ( Jo Sung-huun ) (검색결과 2 건)
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조성훈 ( Sung Huun Jo ) 한국비교문학회 2011 比較文學 Vol.53 No.-
Deleuzian cinematology can bedefined as a symptomatological history of universal movement and time encompassing both material and spiritual fields of image, demonstrating the process of emergence, formation, transformation, fusion, differentiation, and extinction of all kinds of image-beings. This paper describes the entire process from emergence, through other various operations, to extinction of image, mainly with focus on the Deleuzian and Bergsonian theory of image. Moreover, it compares their image-related ontology with the phenomenological perspectives, and exemplifies the ways and procedures of effacing the images which Samuel Beckett did in his film.
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조성훈 ( Jo Sung-huun ) 한국비교문학회 2017 比較文學 Vol.0 No.73
본 연구는 질 들뢰즈(Gilles Deleuze)가 영화론에서 규정한 “정동영화”(the affective film)에서 특징적으로 나타나는 '드러나지 않은 힘'으로서의 '잠재성'(virtuality)의 의미와 그 인문학적 가치를 고찰하고, 잠재성이 영화 예술적 실천들을 통해 표현되는 양상을 추적하고자 한다. 특히 드레이어(Carl Dreyer), 슈테른베르크(Joseph Sternberg), 그리고 브레송(Robert Bresson)의 작품들로 대변되는 정동영화에서 발견되는 이미지들, 즉 사물의 유기적 성격과 기능성이 파괴되어 제시되는 '탈유기적 이미지' 혹은 ‘탈기능적 이미지’에서 도출되는 ‘정동적 잠재성’(affective virtuality)을 집중적으로 고찰한다. 나아가 영화 예술이 일련의 영화적 테크닉을 통해 효율성과 기능성을 제일 가치로 추구하는 효율성중심주의를 바라보고 비판하는 태도와 전략들을 고찰하고, 더 나아가 이러한 사회를 학문적으로 정당화하는 과학기술주의에 의해 훼손된 인문학의 고유한 가치가 삶의 조건이자 건강성을 회복하는 근본적인 힘이며, 오히려 과학기술의 잠재적 토대임을 밝히고자 한다. The purpose of this study is to understand the cinematic methods and aspects of actualizing 'virtuality' as power and quality by examining the editing processes of 'the affective cinema', which Gilles Deleuze discussed in his cinema theory. With regard to the affective cinema and the relevant directors such as Carl Th. Dreyer, Joseph Sternberg, and Robert Bresson, this study considers their perspectives on virtuality, and classifies aspects of maintaining and expressing the perspectives in their cinemas. We can find in these cinemas that they consistently pursue the "de-organic", "non-representational", or "de-spatial" images. The directors have tried to find the way of freeing 'Life' from the real constraints in quest of the de-organic images that might reflect the new and unusual standpoint of perceiving and interpreting the outside world. For example, the affective emancipation in close-up image(Dreyer); the lyrical idealization by soft focus and whitening montage(Sternberg); and the de-organic images by fragmentation editing(Bresson), which could commonly be called the 'de-organization' or 'de-functionalization'. Although these directors use their own respective methods to express affects, they do have something in common that they make things and spaces de-organic and de-functional in order to extract the virtual, the other side of the actual, from reality. The virtual images their affective films express are a criticism of life dominated by the functional needs and habitual schemes, as well as a grope for the chance of new life. We make much of the humanistic value in these images. When the images are de-organized, de-spatialized, or virtualized in the affective films, the audiences come into the new relations with the images and objects in them, and perceive the space in a different way than the usual and actual life. The de-functionalization of the images in the affective films paradoxically reflects humanistic capabilities through which we could have potential to approach the real entity of life by detaching ourselves from the functional needs for life. For humanities are the study of the real condition of life, that is, of the justification of life rather than the actual or useful needs for life. Accordingly, this study argues that the virtual the affective films show is closely related to the real condition of life, hence that they are of value as a humanistic criticism of life.
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