자기 반영 미학의 영화적 구현

다국어 초록 (Multilingual Abstract)

Representation aesthetics has been recognized with an essential theory of the art since Aristotle had adopted mimesis as a method of the art. Artists have endeavored for the transparent representation in every era. But a crack broke out in the myth of the representation with the invention of the photography and the cinema. The supreme transparency of the new media induced a new perspective for the representation aesthetics, which had dominated the art world.
The art derived from the representation stood on the crossroad of changing direction. Modernism aesthetics wanted to search for the self-referentiality in order to the replacement of the only principal that has been recognized for the universality. Cubism made up the chink of representation with relativity of the truth and Abstract Expressionism entered into the world of the image and Nonrepresentationalism instead of the mimesis. Surrealism also constructed his own empire with association of ideas and automatism beyond the logos that we could perceive. But the deconstructed representation by modernism and avant-garde still sustained its life in the cinema.
Many spectators in the theater sought for the stability through the transparency of the representation. Identification that the effect of the representation created was the only comfort to the people who were tired by the labor in the time of industry. Notwithstanding, critics blamed the identification for its stance of non-resistance and the absence of criticism. Classical narrative cinemas are considered as a special mechanism, which poured the dominant ideology into the spectators.
The sprit of the liberation and revolution in 1960's looked out for an alternative ideology. Brecht was an optimum artist from poststructuralist's point of view. They fixed their eyes on alienation effect of Brecht. Against aesthetics of Aristotle, the purposes of epic theatre was disjointing identification effect, which made for a special ideology and awakening the audience. For this reason Brecht's epic theatre was considered as the only method which could deconstruct the dominant ideology.
With the political and aesthetical backing, Jean-Luc Godard, another name of French Nouvelle Vague took advantaged of Brecht's theory. Godard exposed his production process and spoke to the spectators. He made some distance between cinema and them through those methods. Heterogeneous elements of creation and criticism were integrated in His cinema; also his self-reflexive Meta art theory opened a path for political cinema. now, a method of self-reflexive cinema aesthetics supplies a critical point of view for the artists who want to put into justification in their works.

목차 (Table of Contents)

• 1. 들어가며
• 2. 자기 반영의 미적 동기
• 3. 자기 반영적 사유: 낯설게 하기의 전략
• 4. 다양한 자기 반영의 전략들
• 5. 나가며
• 참고 문헌
• Abstract

참고문헌 (Reference)

1 이도흠, "화쟁 기호학" 한양대 출판부 1999

2 문정규, "현대미술의 아방가르드적 사고" 미래디자인 2000

3 류현주, "하이퍼텍스트 문학" 김영사 2000

4 Linda Hutcheon, "패러디 이론" 문예출판사 1992

5 Dziga Vertov, "키노 아이: 영화의 혁명가 지가 베르토프" 이매진 2006

6 소광희, "철학적 성찰의 길" 철학과 현실사 2004

7 이왕주, "철학, 영화를 캐스팅하다" 형효출판 2005

8 배창호, "창호야 인나 그만 인나: 배창호 감독의 영화 이야기" 여백미디어 2003

9 Gille Deleuze, "차이와 반복" 민음사 2004

10 Robert Stam, "자기 반영의 영화와 문학" 한나래 1998

11 Michel Faucault, "이것은 파이프가 아니다" 민음사 1998

12 김혜숙, "예술과 사상" 이대출판부 1999

13 Jean-Louis Leutrat, "영화의 환상성" 동문선 2002

14 Louis Giannetti, "영화의 이해" 현암사 1999

15 Robert Stam, "어휘로 풀어읽는 영상 기호학" 시각과언어 2003

16 Christopher Innes, "아방가르드 연극의 흐름" 현대미학사 1997

17 송동준, "브레히트의 서사극" 서울대 출판부 1993

18 이원양, "브레히트 연구" 1988

19 Tzvetan Todorov, "바흐친 문화사회학과 대화이론" 까치 1987

20 G. W. F. Hegel, "논리학서론?철학백과서론" 책세상 2002

21 Judith Mayne, "“The Ideologies of Meta Cinema” State University of New York at Buffalo" 1975

22 Alfred Jarry, "Selected Works of Alfred Jarry-Writing on the Theatre" Grove Press 1965

23 문재철, "Film Culture 5" 한나래 1999

24 John Walsh, "Emotions in extreme time, Bill Viola′s Passions Project, Bill Viola THE PASSIONS" Getty Publications 2002

25 Christian Metz, "A Semiotics of the Cinema" Oxford University Press 1980

26 김욱동, "??포스트모더니즘의 이론?? ??모더니즘과 포스트모더니즘??" 19921993

27 김성동, "??포스트모더니즘과 현대 미국소설??" 1991

28 Jean Yves Tadie, "20세기 문학비평" 문예출판사 1995