리아 타지리의 영화 〈역사와 기억〉에 대한 연구

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are made to construct official history, while others simply disappear, Tagiri’s work itself, becomes a new working historical document.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.”

마르틴 아르놀트 영화 연구

장민용(Jang, Min yong) 한국전시산업융합연구원 2014 한국과학예술융합학회 Vol.17 No.-

본 연구는 오스트리아 실험영화의 전통을 계승하고 있는 마르틴 아르놀트가 만든 세 편의 영화를 연구대상으로 한다. 이 영화들은 할리우드의 영화의 장면들을 자신이 직접 제작한 옵티컬 프린터를 이용해서 변형시킨 실험영화이다. 연구의 목적은 아르놀트 영화의 연구를 통해서 초기 영화인들의 탐구의 대상인 움직임, 제스처 등 영화의 본질에 대한 연구가 오늘날 어떻게 발전되고 확장되고 있는지를 마르틴 아르놀트의 영화들의 분석을 통해 탐구하는 것이다. 이를 통해 실험영화의 이해를 돕는 동시에 새로운 영상언어의 가능성을 모색하고자 한다. 아르놀트는 세 편의 영화에서 초기 영화인들의 움직임과 제스처의 연구가 현대 실험영화에서 어떻게 진화되고, 할리우드 영화에 등장하는 상투적인 표현속에 심리적이고 정치적인 함의가 잠재되어 있음을 폭로한다. 아르놀트는 자신이 선택한 장면 안의 모든 움직임의 조합을 연구하고 프레임들 사이에 발생하는 변화를 형상화했다. 그리고 이것들을 조합해서 악보를 만들고 오리지널 영화의 움직임과 제스처의 관계를 재구성했다. 이 결과를 통해 아르놀트는 영화가 움직임과 제스처를 통해 시각적 즐거움을 제공하는 기계적 발레로 작동할 수 있는 가능성을 제시했다. 또한 아르놀트는 오리지널 내러티브 전개 위에 시각적이고 청각적인 패턴의 층을 얹어서 새로운 의미와 정서를 부여했다. 마르틴 아르놀트의 영화 세계를 특징짓는 것은 모순과 역설의 미묘한 조합이다. 아르놀트의 영화에는 숨겨진 미스터리를 발견하고 이를 드러낸다. 이 과정에서 도발적이며 감각적인 즐거움 또한 함께 제공한다. 이 작품들은 할리우드 영화에서 보이는 일상생활에서의 완벽한 질서와 고양된 기대감을 비판하고, 가정안에서 성역할과 권력관계를 폭로하며, 강력하지만 숨겨져 있는 내러티브 영화의 테크닉을 해부하여 탈자연화시킨다. 이 모든 것을 가능하게 하는 것은 마르틴 아르놀트의 독창적인 영화형식과 테크닉이다. 보기에 따라서 이 영화들은 피상적인 패러디나 그저 노동집약적이고 테크닉이 강조되는 작품으로 보일 수도 있다. 그러나 아르놀트의 영화는 즉각적인 수준에서 그 의미와 정서를 전달할 뿐만 아니라 지속적인 관람의 과정을 통해서 보다 많은 의미와 즐거움을 발견할 수 독창적인 실험영화이다. The study focuses on three early works made by Martin Arnold who succeed to the tradition of Austria"s experimental cinema. He utilized his hand-made optical printer for these films. The trilogy could not only show how to expand and develop the studies on movement and gesture, but also offers the opportunity the Arnold"s singular film form that manifested psychological and political implications that lurked conventional Hollywood cinema. Arnold studied and formed every combination of movement and shape shifting that occurred between the scene"s frames. The result is an astonishing realization of cinema as mechanical ballet. And also he put new layers of images and sounds on the original films. It created different meanings and emotions. Martin Arnold"s cinema is a world of paradox and contradiction, hidden mysteries and revelations, sensual delights intertwined with provocative psychological and cultural implications. The trio of films by Martin Arnold since 1989 can be seen how Arnold reinterpreted popular Hollywood films to avant-garde films my his own method. This process can guide us to early film"s magic and allow multiple interpretations and revelations. These three works can be analyzed as critiques of Hollywood"s puncture-proof sense of perfect order and heightened expectation within ordinary life, as critiques of gender roles and power hierarchies in intimate situations, and as formal dissections of compelling but hidden narrative film technique. These films can be seen as superficial parodies, of simply as technical feats of labor-intensive virtuosity. But Arnold"s construction work on an immediate level as a kind of vaudeville and become more meaningful the more you dig.

영화를 통한 기억하기의 작업

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.

영화적 시각의 변형에 대한 연구

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.

<환송대>와 <12 몽키즈>의 영화적 재현의 특성

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.

실험영화의 시간 미학 연구

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.

영화적 공간의 확장에 대한 연구

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.

'쇼아 Shoah', 홀로코스트의 영화적 재현

장민용(Jang Min Yong) 한국영화학회 2006 영화연구 Vol.0 No.29

Claude Lanzmann's nine-and a-half hour film Shoah(1985) deals with the trauma, unsolved past by Holocaust. He never used the any kind of documents about Holocaust. Instead, he represented the past within the present. The film's primary focus is on a few, very particular places that seen over and over. Place becomes a powerful metonymic visual substitute for the catastrophic past and is evoked, by Lanzmann, as a continued sign of disaster, even in present. And also he solved the limitation of visual presentation using interviews with his protagonists. The visual impasses in Shoah are solved through speech. Thus while Lanzmann believes very strongly in a visual taboo, he does not uphold the same belief with speech. As an interviewee and a listener, Lanzmann lead the viewer through the lots of details and toward the Holocaust. Images are produced, but they are not iconic or filmic. The witnesses produce images of the past through anamnesis and view-as-listener produces images constructed from the narration. Thus vision is suspended on the surface of the film, but it resurfaces elsewhere in the imagination. Lanzmann situate the film in the present and he well aware of complexities of memory. In fact. memory is a result but we oblige to mediate through the present to access to the memory. The way which consists of memory not only fuse and synesis the complex temporarily but recreate, remember, and re-present the vanished and burned, invisible past. But even though I didn't deal with in this discussion, I need to point out favoritism in film. Shoah denounce Poles that is another victim by history by the name of victim, Jews. So We couldn't find Poles as a victim anywhere in the film. And Germans in the film depict so flat and typical. Despite of the problematic elements, Shoah beyond the interest of the mass-media and historians, it created the 'alternative time and space' through reconstruction and transcendence of memory and the possibility of the filmic representation and expand the film language experimentally.

다니엘 아이젠버그 영화 연구 -사적인 기억과 공적인 역사의 변증법

장민용 ( Min Yong Jang ) 한국디지털영상학회 2009 디지털영상학술지 Vol.6 No.1

기억의 영화적 재현에 대한 연구 -미국 아방가르드 영화를 중심으로-

장민용 ( Min Yong Jang ) 한양대학교 현대영화연구소 2008 현대영화연구 Vol.4 No.1