인지주의 영화기호학의 가능성과 한계

다국어 초록 (Multilingual Abstract)

In this thesis I aim to outline the common theoretical assumption held by cognitive film semioticians and compare their relation to the cognitive film theory held by David Bordwell. According to Warren Buckland, cognitive film semiotics represents the next stage and the maturation of semiotic film theory, Whereas the North American cognitivists represented by Bordwell and Noel Caroll decisively reject the basic doctrines of modem film theory(a.k.a, structuralist semiotics of film & psycho-semiotics), the European cognltivists represented by Roger Odin and Francesco Casetti inaugurate a revolution in modem film theory by returning to the early semiotic stage. Both group therefore reject psychoanalysis and replace it with cognitive science. However the European cognitivists assimilate cognitive science into a semiotic frame, whereas the North American cognitivists work within a pure cognitive framework.
After reviewing some important pre-1970s development, David Bordwell, in his book Post-Theory, tries to delineate two large-scale trends of thought: subject￢position theory and culturalism, and call those 'Grand Theories.' And Bordwell criticizes that these Theories are too abstract to apply film criticism. Instead, he proposes the middle-level research. Bordwell, already in his major work Narration in the Fiction Film, undermined the Metz' grande syntagrnatique, and asked Why is the employment of linguistic concepts a necessary condition of analyzing filmic narration? To these questions, the European cognitivists try to answer as follows; The fundamental premise of semiotics is that the whole of human experience, without exception, is an interpretive structure mediated and sustained by signs, Studying the film from a semiotic perspective does not involve comparing to natural language, but involve first and foremost analyzing film' s specificity.
What unifies the European cognitivists is that their work critically responds to Christian Metz' s film semiotics. TIley attempt to overcome the translinguistics of Metz' s film semiotics by combining semiotics with pragmatics and cognitive science. By doing so, they restore the balance and begin to conceptualize natural language and other semiotic systems. In this thesis I focused on the Meti s latest theory of Impersonal Filmic Enunciation which Buckland call a cognitive film semiotics. According to Buckland, one of the main argument in Meti theory is that filmic enunciation is resolutely non-deictic, and therefore does not require pronoun to describe it. Metz rejects all notions that the link between enunciation and pronoun is determinate, because pronouns are not appropriate to describing the reality of film. Instead, Metz presents the explicit link between reflexivity and enunciation, because enunciation is precisely a process of production that transfonns the underlying language system into a text.
Metz' s theory of impersonal filmic enunciation continues to discuss film in terms of reflexivity and enunciation based on metalanguage and anapora which reject all reference to deixis. Buckland agrees with Metz in rejecting the deictic theory of filmic enunciation based on personal pronouns, but he does not agree with Metz' s rejecting deixis as a concept for describing the reality of film and other audio-visual media. Metz' s theory of impersonal enunciation only functions within a specific framework. In rejecting the presence of deixis in film, Metz limits his discussion of filmic enunciation to the articulation of space and time within narrative fiction films. He argues that each fiction film does not require any deictic relation to the context of its production and reception.
Whereas in the case of narrative fiction films, the filrn s relation to the extra-filmic context is non-specific, but in the case of home movies and TV news, both the internal and external spatia-temporal relations are specific. That is, the latter create deictic links between the image and

목차 (Table of Contents)

• 인지주의 영화이론의 전제
• 거대론에 대한 데이비드 보드웰의 비판
• 1975년부터1995년까지의 영화연구
• 영화기호학에 대한 보드웰의 비판
• 인지주의 내레이션 이론
• 보드웰의 인지주의 이론
• 보드웰의 방법론
• 영화 매체에서 반영성의 문제
• 메츠의 비인칭적 발화작용 이론
• “텍스트바깥에는 아무것도 없다”
• 불확정적인 텍스트의 분석을 위하여
• 참고문헌
• Abstract