영상 특수효과 미학과 생산 양식의 변화: 디지털 시각효과의 포스트모더니티 = The Transition of Visual Effects Aesthetics and Mode of Production: Digital Effects` Postmodernity

다국어 초록 (Multilingual Abstract)

This study sets the goal of grasping the unique postmodern characteristics of digital effects, not of understanding their postmodernity as a new media. The transition in the techniques and meanings of creating visual effects reflects the cultural transformation from modernism to postmodernism. I argue that the characteristic feature of time-space compression, occurring in the process of the transition from Fordism to flexible accumulation, clearly reflects that of compression of multi-layered time and space, generated in the development process from analog visual effects, such as trick, rear and front projection, to the digital effects, such as rotoscoping and CGI animation. While the aesthetics of analog visual effects, without computing, can be compared to a Fordist production system, digital effects, which hugely rely on CGI manipulation, are examples of flexible accumulation. The phrase, “compression of multi-layered time and space” refers to the process of compositing CGI. To complete a CG frame in a film, multiple CGIs have to be overlayed. Each CGI frame forms a layer of time and space. So, to composite multiple CGIs in order to finish a complex and hyperreal CG frame, several layers of computer-generated time and space and real-action time and space have to be projected simultaneously. This process can be drawn as an analogy of the compression of multi-layered time and space of multiple CGIs. My contention is the process of the compression of multi-layered time and space reflects time-space compression of flexible accumulation as the condition of postmodernity. I made close textual analyses of Superman (Richard Donner, 1978) to illustrate modernity of analog visual effects aesthetic and The Matrix (Andy & Larry Wachowski, 1999) to demonstrate postmodernity of digital effects aesthetic.

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