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장민용(Jang Min Yong) 한국영화학회 2008 영화연구 Vol.0 No.37
The relationship between subjective memory and traumatic history is examined through the postwar cimena of Alain Resnais with a particular focus in Muriel, ou le temps d'un retour. By situating his film in the present, Resnais understand the complexity of memory itself Indeed, although memory is about what has already passed, there is only temporal key through which memory can be accessed, and that is through the past. Renais utilizes the textual strategies of modernism to examine narrative, temporality and memory in his work, and in doing so, he destabilizes any notion of absolute truth or closure by embracing ambiguity and even contradiction. But it is not just the normal codes of narrative that are put against themselves; such tactics are put against the representation of memory itself. Work on memory, as evidenced in Muriel ou le temps d'un retour, textualizes human and historical discontinuities. The nature of traumatic events of the twentieth century that surpass their own description require a deepened investigation into the nature of event, its inscription to memory and transcription to representation. The otherness of these events requires textualization that fully recognizes its incommensurability. The pervasive air of strangeness to Muriel ou le temps d'un retour; the pressure with which the past disturbs the present; the ambiguity of action and gesture; the interruption of memory; the mark of absences throughout the film display a kind of unknowingness. This is deepened by the indeciphererability of the film style itself. In Muriel ou le temps d'un retour, missing people are embodied through the missing person of the film. Muriel, she is unrepresented and unrepresentbble. She is also nameless. "They tell me her name was Muriel," Bernard says, "I don't know why, but that couldn't her real name." But in telling her story, Bernard, at least, begin to give her a name to reinstate her in spite of her absence. In this way Muriel ou le temps d'un retour is a project of naming of inscribing the memory of an absent person.
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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.
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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.
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장민한 ( Min Han Jang ) 한국미학회 2014 美學 Vol.78 No.-
이 글에서는 오늘날이 ‘미술의 종말’의 시기이고, 무엇이든지 미술이 될 수 있다고 주장하는 아서 단토(Arthur Danto)가 미술비평에서 미의 역할을 무엇으로 보는지 분석했다. 진과 선과 더불어 우리의 실제 삶에서 없어서는 안 될 핵심가치라고 할 수 있는 미가 동시대 미술의 해석에 어떤 역할을 하고, 예술적 탁월성과 어떤 연관성이 있는지 분석해보았다. 필자는 단토가 기본적으로 ‘서사’와 ‘미적속성’이라는 틀로 미술작품의 의미와 가치를 설명하한다고 주장했다. 서사를 통해 우리 눈에 보이지 않는 작품의 의미를 해석하고 예술적 탁월성을 찾아낸다. 그리고 해석과 관계없이 즉각적으로 파악할 수 있는 미적속성이 작가가 의도한 작품의 의미를 강화시켜주고 있다. 단토는 미도 숭고, 추 등과 같은 미적속성들 중 하나라고 보고 있다. 그 작품의 서사에 적용되는 미를 내적인 미라고 규정하고, 이것이 작품의 의미를 강화시켜준다고 본다. 그렇다고 해서 내적인 미가 예술적 탁월성을 항상 보장해주는 것은 아니다. 한 작품의 미적속성이 작품 주제에 대한 태도를 변화시키는 데 강력한 영향력을 발휘하더라도 그 작품의 탁월성에 대한 판단은 미적인 영역 이외의 도덕적, 정치적 판단 등을 고려해야한다는 점을 제시했다. This paper aims to analyze beauty`s role in art criticism by means of Arthur Danto`s theory. It makes an attempt to solve the problem of beauty`s roles in artworks` interpretation and evaluation of today. I try to apply the thesis of `perceptually indiscernible’ to the problems of beauty`s roles in artworks of today. We can no longer distinguish whether something is an artwork by visual inspection of artworks. His concept ‘artworld’ helps interpretate an artwork`s meaning and evaluate its values. His ‘artworld’ consists of the various discourses of reasons which are narratives for the meanings and the status of artworks of today. I argue that Danto tries to elucidate the meanings and values of artworks through ‘narratives’ and ‘aesthetic properties’ concepts. We can interpret invisible meanings of artworks and figure out artistic excellences by means of grasping narratives. Aesthetic properties play roles as inflectors which add feelings such as beauty, sublime and disgust to artworks`` meanings. Internal beauty can be understood under its relation with a narrative.
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장민선 ( Min Sun Jang ) 이화여자대학교 법학연구소 2012 法學論集 Vol.17 No.2
A principle of gender equality on the Constitution is an important guiding principle in the legislation. For gender mainstreaming in the legislation, we introduced a gender perspective, a gender impact assessment and a gender-responsive budget in the review of the legislation in the Ministry of Legislation(MOLEG) in Korea. Especially Gender Impact Assessment became compulsory to the related plan and business for gender equality and the legislation to promote establishment and revision by central administrative agencies and local governments through the legislation in 2011. These analysis and evaluation are important tools for realizing the legislation and the policy of gender equality while attempting to be made of policy formulation and enforcement. The legislation, unless in all three kinds of exemptions, is to be the subject of analysis and evaluation, and to be analyzed and evaluated whether the existence of the gender, the existence of gender stereotypes, and consideration of gender difference. The significant portion of unequalities of the legislation will be improved through these analysis and evaluation, which means that the anti-discriminatory legislation in advance as a pre-assessment that takes place before the examination of MOLEG. But this is only applied to government legislation and the newly revised and established legislation that has limits to the effective ways on the legislation of a gender equality, so its effectiveness should be improved by introduction of a Gender Impact Assessment on the legislation by Assembly Members or construction of legislation supporting system, a specific enforcement of Gender Impact Assessment on current legislation, the clarification of the guidelines, continuous education and promotion to the system.
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