영화이미지론을 통한 리얼리즘의 가능성 연구 -네오리얼리즘의 이미지와 리얼리티의 관계를 중심으로-

기본 정보

본제목

영화이미지론을 통한 리얼리즘의 가능성 연구 -네오리얼리즘의 이미지와 리얼리티의 관계를 중심으로-

부제목

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대등제목

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국가구분

국내

생산일자

2000-**-**

언어

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크기(mm)

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페이지

90

ISBN/ISSN

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판차

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마스터파일

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생산자

박현선 (중앙대학교 첨단영상전문대학원 영상예술학과 영화이론전공 석사 논문 저자)

내용

(논문요약)[목적]고전적 할리우드의 장르 영화와 같은 유기적이고 종합적인 재현 대신에, 새로운 기호들이 출현하는 현대영화의 시작으로서 누벨 바그와 네오리얼리즘 을 이야기할 수 있다. 여기서 네오리얼리즘이 갖는 의미는 과거의 고전적 리얼리즘과는 명확히 다른 차원을 형성한다. 주관과 객관, 현실과 허구의 구별이 불가능한 크리스탈 이미지로서 네오리얼리즘은 전후 사회에 대한 핍진한 반영이나 객관적인 기록 등으로 충분히 설명되지 않는다. 본 논문의 마지막장에서 이런 문제들을 검토함으로써 네오리얼리즘 영화들의 미학과 스타일에 대해 다각적으로 접근해 보고자 한다. 영화이미지론을 통해 보려는 네오리얼리즘의 새로운 측면들은 단일한 총체성, 근본적인 본질, 견고한 핵심과 같은 문제들이 아니라 이미지의 힘과 의미들이다. 이 영화들에서 리얼리티의 기록은 수동적 관찰을 의미하는 것이아니라 일상의 모호성과 우연성, 파편성을 포착하고자 하는 인식의 전유를의미한다. 네오리얼리즘의 스타일을 통해서 우리는 총체화할 수 없을 뿐만 아니라 정신적인 사유와 항상 긴장관계에 있는 리얼리티를 바라보게 된다. 그 속에서 현실과 정신의 이분법, 대상과 주체의 이분법 등은 폐기되고 있다. 이런 논의들을 통해 우리는 객관적 대상의 순수성과 진리의 견고함으로부터 벗어나 현실의 다층성을 포착하고, 이성적 판단 너머에 감성적인 실천으로 리얼리티를 기록하는 리얼리즘의 가능성에 대해 모색해 볼 것이다. [영문초록]There are two implied questions on realism that asks the relationship between art and reality as follows: 'What shape the real world exists?' or 'How can we put the actuality (or reality) in the art?' On these questions, we may generally evaluate the film that it is the most approximate art toward the realism, in the point that it may record the object as what it is. But it may be the inappropriate evaluation in the point that the film may be over the passive reflection on the reality. Cinematic realism is the territory that historical, descriptive, aesthetic, and social factors collide with one another, so it may be discussed in the other point of view the tradition of realism in aesthetics and in literature. For cinematic realism arises from the relationship of existentialism between the image and the reality. Therefore the aim of this thesis focused on the observations to the relation between the cinematic image and the reality, defamiliarized from the tradition of realism in aesthetics and literature. Since the birth of cinema, there have been proceeded the aggravate debates on the cinematic realism. In these debates, we may observe that discussions on the cinematic realism are divided to be sure prior to the period when it influenced by the structuralist linguistics in late 1960s. As representatives of realist school in the classical film theory, Andre Bazin and Siegfred Kracauer insist that the film is a window or a mirror that reflects the real world. It is on the basis of dynamic premise, not the passive reflection to the reality ; that is, the film which is based on the photo image has the power to document and to realize in the various faces the accidental, undetermined, and vague property that the reality of contemporary society has. After 1968, however, cinematic realism comes the matter to examine and to criticize with the birth of contemporary film theory. The tradition of structuralist semiology, which grasps the film as a kind of language, regards the realism as an ideology or a custom of cinema. According to their critique, the realism in cinema is on the basis of illusionism and of crystal ideology. But in these debates cinematic realism is based on the binominal transposition such as reality and fiction, objective and subjective, and as imitation and creation, therefore it possesses a limited territory. (영문초록)In this thesis, we may have the expansive observation on the discussions of cinematic realism to the territory of "Thought" by the Deleuze's viewpoint on image and sign. In Chapter II, we may observe that Deleuze affirms the reality as an external existence, and that he approaches by the name of 'Pure Semiotic' to the uncertainty and to the indeterminacy, denying the viewpoint of linguistic semiology which takes reality as a kind of objective effect by the textual signification. And it begins from the theory of Henry Bergson and C. S. Pierce that becomes the methodological sign of Deleuze's discussion on the cinematic image. Deleuze stands Bergson who overcomes dualistic separation such as material and spirit, materialism and ideology, and Pierce who founded its ground on the unlinguistic signs of cinematic image as the basis of his theory. These kinds of methodology bring an objection to the metaphysics, which understands the distance between art and reality as a virtual state, and to the old realism that regards the film as a representation of reality, and it may help to grasp dynamically the relationship between image and reality. Especially the concept of 'crystal image' gives to reality the property that coexists indiscernibly by the forms such as the actual and the potential, the real and the imaginary, the present and the past, and as the fact and the fiction. It means extinction from the traditional form of realism of the past, therefore it is completely different from the realism that have tried to erase the fiction and to put the reality. Instead of the old realism which focuses on the organic and synthetic representation as in the classical Hollywood genre film, we may talk about the Nouvelle-Vague and the Neo-realism as a beginning of contemporary cinema that appears new cinematic signs. In this discussion, the meaning of Neo-realism forms the completely different aspects from the existing discussion about the realism. As a crystal image which is impossible to distinguish between the subject and the object, and the real and the fiction, the neo-realism is somewhat difficult matter to explain completely by the superficial reflection on the post-war society, or by the observant objectivity that does not intervene. In the chapter III, we may approach to the aesthetics and the styles of Neo-realistic films in various situation by observing these problems. The new aspects in the Neo-realism which can be found in the theory of film image focuses on meanings of the fact(or the condition) that is generated by the power of image and the continuity of time, not on the problems as in the simple wholeness, the fundamental substance, or the solid core. In conclusion, the new aspect of realistic film is expanded over the boundary between the reality and the fiction, and it transposes to the susceptible practice from the logical decision to the truth. The theory of cinematic image manages a crucial basis to the realism of contemporary cinema after the age of neo-realism, by emphasizing the cinematic image of the reality which is opened to the disturbance between the fiction and the real, and between the time and the accident. So we may hope that transposing the weight of cinematic realism to the new point of view, and finding a new realism by the power of cinematic image and the cinematic potentiality may be continued.

목차

목차

국문목차 표제지 = 0 목차 = 0 서론 = 1 1장 영화의 리얼리즘에 대한 논의들 = 5 1-1. 사진적 이미지와 리얼리즘 = 5 1-2. 환영주의와 리얼리즘 비판 = 15 2장 영화이미지와 리얼리즘 = 26 2-1. 진리 모델과 재현의 위기 = 26 2-2. 리얼리티와 이미지의 관계 = 31 2-3. 언어학적 모델과 순수기호학 = 40 2-4. 영화이미지의 유형 : 운동-이미지와 시간-이미지 = 46 3장 네오리얼리즘과 이미지 = 55 3-1. 리얼리즘 미학과 다큐멘터리즘 = 56 3-2. 리얼리티의 새로운 형식과 현상학적 리얼리즘 = 64 3-3. 네오리얼리즘과 크리스탈 이미지 = 71 결론 = 80 참고문헌 = 83 Abstract = 87

소장정보 1