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- 저자 : 서현석(Hyun-Suk Seo) (검색결과 39 건)
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서현석(Seo Hyun Suk) 한국영화학회 2006 영화연구 Vol.0 No.30
Avant-garde film artists Peter Tscherkassky and Naomi Uman have utilized two distinct film-making approaches rooted in the 1920's and the 1930's, namely handmade film and usage of found footage. These artists have recently visited Korea, showed their works, and gave talks through film festivals. This study examines some of the aesthetic issues brought up by their works and public talks. In order to help better understand the full possibilities explored by both artists, I investigate the historical circumstances that led to the emergence of these two traditions, both of which were introduced in the golden era of the avant-garde movement in reaction against the illusionist basis of narrative cinema. While the works of Tscherkassky and Uman embody the self-reflexive strategies of the avant-garde, they evoke violence and death, inevitably driven by their formative concerns. I suggest that the element of death in their films are not simply the reflections of the artists' individual interests or the inherent theme of the found footage, but rather an inevitable effect of meticulous scrutiny on the essence of the film medium. The avant-garde pursuit of self-reflexivity is itself a thanatoid decomposition of the creative drives that characterize the cinematic medium and culture.
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서현석(Seo Hyun Suk) 한국영화학회 2006 영화연구 Vol.0 No.29
This study examines how Peter Kubelka's early films challenge the basic propositions that semioticians like Christian Metz. embraced in the course of investigating the structural basis of cinema. Whereas Metz tried to explicate the semiotic mechanism of cinema in terms of such elements as the shot, Kubelka interrogates the function of the individual frame in his "metric films." Kubelka's working principle recognizes the very mechanical foundation of the cinematic perception and ultimately resolves the conceptual dualism of reality and language, the binary opposition which not only dictates western thoughts but also haunts modern film theory. By restricting the scope of research to narrative films and not taking into account avant-garde approaches, film semiotic theory failed to offer a comprehensive understanding of the cinematic phenomena. The purpose of this study is to propose a way of rethinking the basis of cinema as an optical phenomenon, through which the binary opposition between reality and language becomes obsolete.
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서현석(Seo Hyun Suk) 한국영화학회 2010 영화연구 Vol.0 No.43
The starting point of this study is the recognition of drastic paradigmatic shifts in recent documentaries concerning the treatment of reality. Rather than observing, recording, mediating, or re-enacting reality, such films as Cech Dream and Eternal Frame prompt a specific situation for the very purpose of filming. This paper deals with such practices and interrogates their rhetoric and aesthetic implications by appropriating the concept of "performativity." Since the concept of "performativity" has come to use in various fields, this study acknowledges the necessity for interdisciplinary approaches. In particular, it illuminates the "performative" documentary as an organic trajectory in which documentary and the avant-garde share the common motivation, namely to question the law behind the construction of reality. In order to fully explicate the rhetoric mechanism of "performativity," I incorporate J. L. Austin's landmark study on the performative utterance and Judith Butler's political expansion of the term. By exercising in deceptively simple ways "detournement," a common strategy developed in the avant-garde art since the 1970's, named performative documentaries tend to suspend a conclusive understanding of the world and produce hermeneutic rifts that unsettle the very working mechanisms of language within the capitalist system, which are precisely the functions of performativity. The importance of the performative documentary lies in its questioning of the very foundation and function upon which the concept of documentary has been fabricated.
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서현석(Seo Hyun Suk) 한국영화학회 2011 영화연구 Vol.0 No.49
Zidane, A 21st Century Portrait(2006), a feature-length film directed by Douglas Gordon and Philippe Parreno, has a number of aesthetic qualities that are parallel to the aesthetic qualities of the silent era. Highly corporeal and synaesthetic, the sensory experiences that the film evokes re-illuminate what was referred by Jean Epstein as photogenie of the late silent era. Unrestricted by narrative structure or linguistic fabrication, let alone the flow of the ball or the overall continuity of the game, the audiovisual stimuli offered in the film reinvent the raw awe of early cinema. This study contemplates on the quality of photogenie as an aesthetic mechanism for the cinematic portraiture, which has never become a distinct convention in history. At the same time, the visceral spectatorship operates with the mechanism of long-term memory, which was largely constructed by the cinematic apparatus that govern sports business. A double reflection on the physicality of an individual presence in the public sphere, or the function of the portraiture, and on the role of the cinematic apparatus in the mass-oriented digital technology, Zidane, A 21st Century Portrait induces a cinematic experience in which a state of indeterminacy sustains. Parallel to what Jacques Ranciere calls “the pensive image”, moments of idleness, or the aesthetic potentials of what Maurice Blanchot called “desoeuvrement” evokes the complexity of the cinematic text.
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서현석(Hyun-Suk Seo) 한국영화학회 2003 영화연구 Vol.- No.22
This paper analyzes and discusses a number of interrelated thematic and audiovisual elements in Free Madam that demonstrate director Han Hyung-Mo' s artistic strengths. Based on a popular book that had been accused of being morally corrupted and threatening the common value of the Korea people. the film was a landmark financial success in 1956, anticipating what many scholars see as "the golden era of Korean cinema." Most references to the film in cinema-related texts focus on the context of the intensified dispute around tile morality of the book, instead of discussing the artistic merits of the film or the director s capacity. Another popular framework that situates the film has been its genre traits as a popular melodrama, serving as a constraining tool to evaluate the aesthetic aspects of the film properly. The purpose of this paper is to study tile overtly unacknowledged artistic strength and directorial ability that are manifest in tile film, This paper analyzes and discusses a number of the exclusively cinematic expressions that are not rooted in me original book, including subtle and yet clearly intended elements of mise-en-scene, lighting, editing, and acting, I argue that Han's aesthetics embrace highly complex concepts of displacement and impossibility, bam formally and thematically. Such concepts are indeed recurrent thematic motifs and elements of formal strategy that Han exercises in a number of other films of his. I accordingly illuminate Han as a highly accomplished visual artist with a sophisticated understanding of tile psychological aspects of me cinematic signs and a unique vision on me human capacity in an oppressive society, not a voiceless director behind scandalous bawdy melodramas.
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