인터뷰_김응수 감독

편집부 동의대학교 영화·트랜스미디어연구소 2020 디스포지티프 Vol.7 No.-

노엘 버치가 “생각했던” 에세이 영화

서동진(Dongjin Seo) 동의대학교 영화·트랜스미디어연구소 2020 디스포지티프 Vol.7 No.-

This article pays attention to historical differentia of the essay film, then and now through the essay film as a strategy of critiques of illusionist realism raised by Noel Burch. He was a pioneering writer and critics to identify the essay film as a critically effective work against the background of polemics around the political modernism in the 1970s. And we are now facing an overwhelming flow of essay films in a range of venues including galleries, museums, art theatres, and festivals. They are predominantly seen as the dominant species of moving images, which used to focus on a myriad of formal qualities in a self-sufficient way not to necessarily be based on reality. In this article, I try to explore the historical gap or different the political-aesthetical impulse of essay films produced in a few decades, in particular, to examine the significant work, The Forgotten Space, which was directed by Allan Sekula and Noel Burch. While contributing the note for the work, Noel Burch traced major characters of the essay films in retrospect and adds his own significant remarks about his co-work. Unlike common that political modernism aimed at the refusal of any kind of realism or realist representation of the objective world, Burch tells that “it can only be sampled” of the reality(the globalized capitalism in that case), suggesting that essay film might be a critical measure to capture the reality aginst its un-representability. In short, I try to ask whether the essay films are re-registration of reality or inner immersion within filmic field freed from reality.

포스트시네마, 뉴미디어, 디지털 테크놀로지

김무규(Mookyu Kim) 동의대학교 영화·트랜스미디어연구소 2021 디스포지티프 Vol.8 No.-

This paper suggests a theoretically possible way to account for a concept of post-cinema. For the suggestion, we shed light on the meaning of medium especially in the context of the system theory, and define new medium from its perspective. The medium can be explained on the basis of its contingent relation to form. On the ground of this contingency, the transition always occurs from medium to form and visa versa. New medium can be defined as a state in which these transitions are actualized so ceaselessly that the differences between media and forms are not determined, because new media cannot be logically defined as media that have been developed recently, but as media that continue to change and maintain the newness in this way. In terms of this theoretical explanation, the introduction of digital technology allows films to operate as new media. This is because the digital has not so much high viscosity as granularity, and this condition makes the transition between medium and form more dynamic. Film history shows that this dynamic movements from medium to form have taken place, given that the early cinema or the experimental films try to formalize their own media to be observed by the audience. But the digital cinema intensify this movement with the help of the digital technology.

에세이 영화와 정신분산의 이미지

이도훈(Dohoon Lee) 동의대학교 영화·트랜스미디어연구소 2020 디스포지티프 Vol.7 No.-

This paper is an attempt to examine the process by which thoughts are shaped through images in essay films. The study seeks to examine whether it is possible to shape thoughts through images in essay films, wary of text-centeredness that emerged in discourse related to essay films. For this purpose, we want to focus on the concept of distraction. In the dictionary, distraction has the meaning of entertainment, diversion, fascination, and inattentiveness. E a r l i e r M o n t e n e u emphasized the importance of mood change in the sense of shifting from one idea to another. Regarding the film, Walter Benjamin pointed out that the unique viewing of the film is related to distraction, in a way that distinguishes it from the contemplation that is usually seen in painting appreciation. Essay films feature distraction in that they derive new thoughts through disparate materials, a chain of questions, the structure of the digression, and various perspectives. These essay films try to capture unfamiliar places and spaces, combine images in different contexts, or draw new thoughts through the potential of the image itself. This paper argues that essay films attempt to leap to other, new, and unpredictable thoughts by exploiting the array of disparate images and the potential of the images themselves.

스마트 시대 확장된 수행적 다큐멘터리

정민아(Minah Jeong) 동의대학교 영화·트랜스미디어연구소 2019 디스포지티프 Vol.6 No.-

스마트 시대에 유튜브, 트위터, 페이스북 등 SNS 서비스, 동영상 스트리밍 서비스는 뮤직비디오, 영화나 방송 프로그램 클립 등 엔터테인먼트 수단으로서 뿐만 아니라 시사보도나 다큐멘터리에 있어서 하나의 완성형 대안 플랫폼으로 이미 우리 가까이에 있다. 이에 다큐멘터리도 다른 형태로 진화하고 있다. 다큐멘터리는 특정 시기마다 나타난 새로운 움직임에 의해 발전해왔다. 주요 상영 기반이 극장에서 텔레비전으로, 그리고 온라인으로 이어지고, 21세기에는 유튜브와 동영상 스트리밍 서비스라는 새로운 플랫폼을 기반으로 양적으로 성장하고 형태 변신을 꾀하고 있다. 스마트 시대는 영화미학, 스크린 시공간을 다변화시켰을 뿐 아니라 그것이 생산한 네트워크 문화에 기초하여 생산자와 사용자의 위치 재구성을 촉진한다. 스마트 시대의 다큐멘터리는 현재 두 가지 주요 양식을 증대시키고 있다. 첫째, 기존 다양한 영상 소스들을 활용하는 편집 다큐멘터리, 둘째, 창작과 배급이 제도권 바깥에서 이루어지며 누구든지 도전하여 완성까지 도달할 수 있는 1인 크루 다큐멘터리 등이다. 스마트 시대 관객 또한 이러한 두 가지 증폭된 양식에 능동적인 수행자로서 참여한다. ‘보는 것’이 아니라 ‘경험하는 것’으로서의 영화는 다큐멘터리의 수행성을 더욱 다양한 형태로 보장한다. 본고는 최근 편집 다큐멘터리 및 1인 다큐멘터리의 사례를 통해 스마트 시대에 수행적 다큐멘터리가 어떤 형태로 만들어지고 있는지 살펴본다. In the smart era, SNS services such as YouTube, Twitter and Facebook, and OTT services are already near us as an alternative platform for news reporting and documentaries, as well as entertainment means such as music videos, movie or broadcast program clips. In response, documentaries are evolving into different forms. Documentaries have been developed by new movements at certain times. The main screening base runs from theaters to television and online, and in the 21st century, it is growing quantitatively and seeking to change its form based on a new platform called YouTube and OTT services. The smart era has not only diversified film aesthetics, screen time and space, but also facilitates repositioning of producers and users based on the network culture it produces. Documentaries in the smart era are now increasing two main forms. First, editorial documentaries utilizing existing diverse video sources, second, one-person crew documentaries where creation and distribution are conducted outside the institutional sphere and anyone can challenge and reach completion. Smart era audiences also participate as active performers in these two amplified forms. The film as "experience," not "see," guarantees the performance of the documentary in more diverse forms. Through the examples of recent compilation and one-person documentaries, this paper examines what forms of performing documentaries are being made in the smart era.

VR ‘완전영화’의 불가능성

이상욱(Sanguk Lee) 동의대학교 영화·트랜스미디어연구소 2021 디스포지티프 Vol.8 No.-

A concept of ‘The Myth of Total Cinema’ by André Bazin's has been a reference point for interpreting the relationship between technology and idea in the history of cinema. Even in the discussion of Virtual Reality Film, there is an attempt to apply the concept of total cinema. Some scholars believe that VR film reach to the myth of full movies. However, from the perspective of embodied cognition, VR film have limitations. Since the 1950s, cognitivism has been applied to various human activity through interdisciplinary research and convergence attitude in order to understand and realize the human mind. Among these, embodied cognition includes various aspects of Embodied Cognition, Embedded Cognition, Enactive Cognition, and Extended Cognition. VR film could not act as active cognition system between the body and the brain. And VR film try to replace reality with a virtual world but this is impossible. On other hand, the legacy film system try to represented reality not replace. Also, in a normal VR film, humans cannot be active and cannot actively utilize space. In this reason, VR film cannot be effective cognition system and eventually cannot be ‘a total cinema’. Furthermore, the concept of a total cinema remains in a linear way of thinking, and there is a limit in explaining all the possibilities of the modern Virtual reality media. Accordingly, the concept of a total cinema must be discarded or reestablished. The myth of VR film must also be re-evaluated from an artistic point of view, abandoning technology-oriented thinking.

‘After Cinema’

정락길(Lakkil Chung) 동의대학교 영화·트랜스미디어연구소 2021 디스포지티프 Vol.8 No.-

How will the cinema exist? This is not a new question. At the same time, it is a question that cannot be easily answered. Cinema as a medium and art played an important role in the 20th century. Today there are those who maintain that the upheavals tied to digital technology are changing the state of things more radically than ever before. As the topic of ‘After Cinema’ suggests, Whether voluntarily or intentionally, we are being asked to rethink the changes of cinema. The main content of this article deals with the problematics of the spectator’s body and experience surrounding the white screen. In any case, whether it is a small screen in the hand, a desktop screen, a white screen in a theater, or a wall in an exhibition hall or a museum, there is a human interest in the moving image surrounding the screen under the concept ‘family resemblance’. The dispositif called cinema exists in various ways under the form of various screens. There is a complex history of transitions and transformations for media that needs to be elucidated. Also, the possibility of cinema in the changed media environment needs to be presented as important. Rather than dealing with all these discussions, this article aims to examine the status of cinema in the 21st century from reflection on the experience of cinema. So, starting from the psychoanalytic discussion of regression, we will try to detect the possibility of cinema in the 21st century by examining the method of representation of the body, the problematics of the body, and the discussion of experience in cinema.

정신분산 가능성 시대의 VR과 경험의 ‘구체화’

곽영빈(Yungbin Kwak) 동의대학교 영화·트랜스미디어연구소 2019 디스포지티프 Vol.6 No.-

근래 들어 비약적으로 가시화되고 있는 VR 작업들을 관통하는 공통점들 중 하나는, 거기에 엄격하게 영화적인 의미에서 ‘클로즈업’이 존재하지 않는다는 것이다. 이는 <나를 기다려, 추락하는 비행선에서>(파트타임스위트, 2016)나 <동두천>(김진아, 2017), <새 여인>(권하윤, 2017)과 같은 최근의 한국 작업들은 물론 <울트라맨 제로 VR>(타구치 키요타카, 2017) 같은 일본의 특촬물 VR에도 공히 적용되는 특징이다. 클로즈업으로 찍힌 장면이 있다고 하더라도, 그것은 VR이 우리에게 제공하는 광대한 시각장 속에서 언제고 무력화 될 수 있다. 이는 VR을 영화로부터 떼어놓는 흥미로운 차이점 중 하나이면서, 360도 시각장의 ‘본질적 부산물(essential by-product)'이다. VR의 경험이 정신집중보다는 그것의 분산 속에서 가능하다는 것은 ’기계복제가능성의 시대의 예술작품‘에서 벤야민이 주목했던 영화와 건축 간의 공통점을 환기시킨다. 건축을 정신분산 속에서 수용되는 예술작품의 원형으로 소환하면서, 벤야민은 건축물의 수용이 촉각과 시각을 통해 이뤄진다고, 더 정확하게는 건축의 시각적 수용은 촉각적 지각의 특징인 “무심코 이뤄지는 주목 einem beiläufigen Bemerken”을 경유해 이뤄진다고 지적한다. 흥미롭게도 이러한 ‘정신집중의 분산 가능성’은 프랑스의 영화평론가 앙드레 바쟁이 오손 웰스의 작업에서 인상적으로 사용된 딥 포커스를 ‘단일 포커스의 부재‘라는 맥락에서 “민주적”이라 평가했던 것과 역설적으로 공명하며, 이를 통해 VR과 건축, 영화간의 공명을 두텁게 만든다. VR이 제기하는 또 다른 문제는 촉각성과 이미지의 관계, 그리고 그것의 매체적 함의다. 스마트폰이나 아이패드의 스크린에서 우리가 손가락으로 만지고 누르는 이미지들은 더이상 전통적 의미에서의 ’시각적 재현물’로 기능하지 않는다. 물론 우리는 그들을 볼 수 있지만 그것의 근본적 기능과 존재 이유는 더 이상 시각적으로 향유되거나 평가되는 데 있지 않다. 다른 기능과 프로그램을 작동시키고, 다른 링크, 다른 차원으로 우리를 넘겨주는 것이라는 의미에서 그것은 하룬 파로키가 ‘작동 이미지 operational image'라고 불렀던 것에 가깝다. 이미지가 시각적 향유의 대상이 아니라 ‘작동하는 이미지’와 겹치거나 그것을 넘어서는 무엇으로, 즉 어떤 결과와 효과를 산출하는 과정의 일부로 기능한다면, 그때 이미지란 소위 현실의 ‘실체’ 혹은 ‘물질’과 어떠한 차이를 갖는가? 마지막으로, 우리는 VR과 체험의 ‘구체화(concretization/sphericalization)’간의 선택적 유사성을 살펴볼 것이다. 약 3미터 정도의 텅 빈 구체에 사용자가 직접 들어갈 수 있게 만들어진 버추스피어(VirtuSphere)는 대개 헤드마운트 기어를 통해 시각적인 차원에서만 구현되던 감각의 장을 말 그대로 전면화한다. 여기서 현실과 VR의 경계는 뒤샹의 표현을 빌면 지극히 얇은(Infra-mince/infra-thin) 막을 경계로 간신히 구분되는데, 이는 한국에서는 ‘단톡방’, 혹은 ‘필터 버블(filter bubble)’이라 불리며 알고리즘을 통해 지속적으로 강화되는 사회연결망서비스의 내재적 한계와 환상을 강력하게 환기시킨다. 구동희의 2016년 싱글채널 영상 작업인 <cross x pollination>는 ‘만질 수 있는 스크린’을 통해 제시되는 두 가지의 구분 불가능한 이미지들을 평평한 2차원 영상으로만 역으로 제시함으로써, 허쉬혼의 <Touching Reality>와 제프리 쇼(Jeffrey Shaw)가 1960년대 중후반부터 변주해온 ‘육체영화(Corpocinema)' 프로젝트의 궤적이 천착한 아방가르드의 문제의식과도 접속된다. One of the commonalities of VR works whose visibility is increasingly on the rise is the lack of close-up, in its rigorously cinematic sense of the term. When they appear, close-ups are strictly subject to neutralization in the midst of the VR‘s vast visual field. One of the essential by-products of the 360 degree visual field of VR, it constitutes one of the intriguing differences whereby VR is detached from cinema. That VR experience is possible less in the state of concentration than in distraction evokes the common ground between cinema and architecture, as noted by Walter Benjamin. Benjamin notes that visual reception of architecture operates via “casual noticing [einem beiläufigen Bemerken],” a feature, he adds, of tactile perception. Interestingly enough, this ‘distractibility of concentration’ paradoxically resonates with what Andre Bazin deemed as “democratic” in Orson Welles’s use of ‘deep focus’ in terms of ‘the lack of dominant focus,’ and thereby further enriches the resonance between VR, architecture and cinema. Another issue of VR concerns the relationship between tactility and image since images we touch and press on our smartphones and iPad’s screens do not function as ‘visual representation.’ In a sense that they render other programs operative, and carry us to another link and dimension, they are closer to what Harun Farocki called ‘operational image.’ Lastly, there is the issue of selective affinities between VR and concretization or sphericalization of experience. The distinction between reality and VR is strenuously maintained by what Duchamp called an ‘infra-thin’ membrane, forcefully evoking the so-called ‘filter bubble,’ an algorithm-bound effect of SNS as well as its intrinsic limits and fantasy.

제작노트_<콘크리트의 불안>

장윤미 동의대학교 영화·트랜스미디어연구소 2020 디스포지티프 Vol.7 No.-

디지털 카메라를 든 여자

남수영(Sooyoung Nam) 동의대학교 영화·트랜스미디어연구소 2020 디스포지티프 Vol.7 No.-

This article tries to find a theoretical link between the essay film and women’s cinema by examining images of Agnes Varda's 2000 film <The Gleaners and I>. Adorno’s argument about the form of essay as the critical reason provides an important insight into the discourse of essay film regarding the film’s non-linear process of accumulating experiences. Located between documentaries and experimental films, the essay film asks what we see and learn through exploration and rediscovery of filmic images rather than constructing a logic to produce meanings and knowledge. In <The Gleaners and I> Varda goes on a journey of an essay that “picks up” images, especially with a digital camera in one of her hands. Along with her camera, we look at the various forms of mediated images that have defined our ways of looking, to rediscover images that have been overlooked in the existing value system. This paper analyzes Varda's digital camera as a tool that connects and moves with the seeing body within the world, not separate vis-a-vis the subject of the camera. In this sense, Varda can be said to perform the female film essayist as a dual role.