영화영상에 관한 기호학적 이해의 문제점과 대안: 사이공간 개념을 중심으로 = Problems in the Semiotic Understanding of Film Image and the Concept of Space In Between

다국어 초록 (Multilingual Abstract)

The present study deals with the methodologies of cinema image analysis. In particular, this study purposes to criticize problems in the semiotic understanding and analysis of images and to search their solutions and alternative possibilities. Semiotic understanding of images (including still images like photographs and moving images like movies) was found to have the simple function of information communication through reducing images to characters or texts or to have the persuasive meaning of rhetoric. However, when an image is reduced to signs, the meaning of the image cannot be fully reflected. Thus, it is necessary to regard an image not as a singular textual system composed of the relation between a significant and a signifier but as multiple value systems that co exist dualistically and compositely. In addition, it is necessary to understand an image as a kind of expression method that gives clear distinction between two or more systems (or differences). Accordingly, key concepts in understanding images in consideration of the composite system of cinema images are ``space in between`` and theories related to the concept. That is, we are going to understand an image as what goes beyond the boundary between a significant and the signifier or between an indicator and the indicated and shows the space in between. The later part of this study examined cases of cinema images to demonstrate the theoretical understanding. The technological medium cinema has already been dualistic since its birth, and only those who take the dualism into account fully can watch a movie properly. Benjamin identified two attitudes of reception - concentration and distraction - and explained the reception of cinema images as distractive reception, emphasizing the dualistic characteristic of cinema. Benjamin`s explanation was considered inappropriate during the period of narrative movies when cinema was symbolized, namely, the period of realism. However, when examining the trend of films produced after 2000 (after 1990 in the West), we can see that concepts for understanding cinema image such as dualism, space in between and distractive reception play decisive roles again. Particularly in this study, we recognized that Korean films since 2000 have been switching from realism to self reflectionism since 2000, and pointed out that such a trend may give a critical role to the concept of space in between in understanding cinema image. In addition, the concept implied that recent cinema images and other products of technological media may be greatly helpful in analyzing images. After all, the semiotic understanding of images is not adequate to explain fully the diversification and multiple functions of images resulting form the development of images.

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