감각하는 몸의 영화적 경험 -영화관람 주체성의 이상주의와 비관주의를 넘어서 윤리학으로-

기본 정보

본제목

감각하는 몸의 영화적 경험 -영화관람 주체성의 이상주의와 비관주의를 넘어서 윤리학으로-

부제목

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대등제목

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국가구분

국내

생산일자

2002-**-**

언어

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크기(mm)

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페이지

104

ISBN/ISSN

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판차

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마스터파일

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생산자

조혜영 (중앙대학교 첨단영상대학원 영상예술학과 영화이론전공 석사 논문 저자)

내용

(논문요약)[목적] 이 논문에서는 고정된 의식이나 정신 혹은 정체된 구조인 영화적 장치에 지배받는 수동적이고 종속된 관객이 아닌 몸-주체로서의 관람자와 그것을 가능하게 하는 영화-몸의 관계를 메를로-퐁티의 실존적 현상학의 지각이론을 바탕으로 풀어보고 그 가능성과 문제점에 대해 논하고자 한다. (영문초록)[영문초록] Contemporary film theories based on Lacaian psychoanalysis, neo-Marxism, the cinematic apparatus theory and especially cine-feminism, have done a successful work in arguing film spectatorship on a diversity of discursive levels with an ideological and political resonance. However, these theories consider a spectator as a libidinal, static form and are not fine in describing the pleasure and plenitude of an experience that includes "sexual difference." A viewer's pleasure and unusual images, departing from their theoretical economy, are frequently regarded as a surplus and a female desire and pleasure in psychoanalysis is qualified with a lack or inappropriateness. That is the why the theories have been steadily criticized in various theoretical context since '90s. The newly oriented film studies tend to share the opinion that a spectatorship has to be reconsidered as not the static but the more active, mobile and spontaneous. It can be achieved when a real film viewer becomes not consciousness neither unconsciousness but a sensible body, which is compatible with both of the spiritual and the material, constantly moves outside in and inside out and makes self and other change at the same time. A cinematic spectatorship theory declares a bodily film viewer and above all, emphasizes a contact, an impact, the affect and a fascination between cinematic image and a viewer in an embodied film "experience." Vivian Sobchack, one of optimistic cinematic spectatorship theorists, asserts that a phenomenological film theory (especially focused on Merleau-Ponty's existential and semiological phenomenology) can describe and account for 'the origin and locus of cinematic signification and significance in the experience of vision as an embodied and meaningful existential activity'. Her goal is in theorizing a unique and specific film experience and a film viewer's inherent qualification. She proposes a primary embodied relation of the film experience, arguing that both of the cinematic and a spectator can be a perceiving and perceived bodily subject within fields of cultural, social, historical and political discourse. The statements are grounded on a double vision (viewed-view and viewing view) and an intersubjective/intrasubjective lived-body. A film-body and a bodily viewer are reversal, which makes a binary division of subject/object, inside/outside and material/spiritual ambiguous and fuzzy. The cinematic makes a spectator perceive its own experience. The direct experience of an experience. In other words, film viewers primarily experience perception of a camera and a film director, and a film-body and a bodily viewer reciprocally and directly perceive their own introceptive image. The direct mutual contact makes the reciprocal flux of an embodied experience possible. This paper examines what significance a dynamic and reciprocal film experience has and explores diverse and heterogeneous discourses on and through bodies who are experiencing the cinematic, focusing on Sobchack's phenomenological film spectatorship and haptic image. Actually, the theoretical application of this paper encompasses a movement through Maurice Merleau-Ponty's phenomenology to Luce Irigaray's French Feminism. We examine phenomenological tradition in the classical film theory including theorists such as Andre Bazin, Jean Mitry and so on in Chapter Ⅱ, and Sobchack's "embodied spectator/film relations" and the theoretical background in Chapter Ⅲ.

목차

목차

국문목차 I. 서론 = 1 1. 연구 목적 = 1 2. 연구 내용 = 5 II. 영화 현상학의 배경 = 13 1. 고전 영화이론의 현상학적 전통 = 13 2. 영화 현상학의 재출현과 배경 = 21 III. 상호교직의 방법(The Chiasm) - 체화된 시각의 가역적이고 역동적인 관계 = 27 1. 실존적/기호학적 현상학과 영화이론의 조우 - 지향성과 생성의 운동을 향하여 = 31 2. 지각과 표현의 가역성 - 보는 시각과 보이는 시각 = 39 3. 감각하는 몸의 내주체적이고 상호주체적인 지각관계 = 45 4. 영화-몸의 잠재성 = 53 5. 이중 시각의 상호관계 = 60 IV. 몸-주체에서 살-주체로 = 65 1. 실존적/기호학적 영화현상학에 대한 비판과 확장 = 65 2. 살-주체의 잠재성 = 77 3. 떨림과 반향: 촉각적/촉지적 이미지의 영화경험 = 82 V. 결론 = 96 참고문헌 = 99 Abstract = 102

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