영화 테크놀로지와 모더니티

Basic Information

Title

영화 테크놀로지와 모더니티

Subtitle

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Parallel Title

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Country

국내

Production Date

2000-**-**

Language

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Size (mm)

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Pages

95

ISBN/ISSN

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Edition

-

Master Files

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Producer

김병철 (중앙대학교 첨단영상전문대학원 영상예술학과 영화이론전공 석사 논문 저자)

Description

(논문요약)[목적] 테크놀로지라는 관점에서 영화를 볼 때, 테크놀로지를 탄생시킨 근대와 영화의 상관관계에 주목하지 않을 수 없다. 근대를 구성하고 있는 영화 외적인 요소들이 영화의 탄생과 발전에 영향을 주고 있다는 점에서 양자의 관계를 설정할 수 있다. 이러한 전체적인 조망하에서 볼 때, 영화와 영화 테크놀로지, 그리고 그것들을 탄생시킨 근대와의 관계를 보다 깊이있게 살펴볼 필요성이 부각된다. (영문초록)[영문초록] This dissertation is a study about the relation between the film technology and modernity. We often neglect the fact that film is the material possible by the technology and made not by a few genius but by the modern era. So I started a study by the assumption that film technology is the essential condition to understand the film. To do this, I chose the phenomenological methods. This means that this dissertation does not concentrate on the fact itself but the relation between the facts. In Chapter 2, I studied the essential nature of technology. For Heidegger, the technology is something to make Dasein meet the world and reveal the relation between Dasein and the world. Vivian Sobchack investigated the film phenomenon by the concept 'film-body'. For her, film technology widen the choice of perception, give birth to the film movement. This method is more helpful to understand the film technology than the drawing up the facts in a row. In Chapter 3, the nature of modernity and modernization was studied. Modernity is the peculiar experience of time and space in modern era. Modernization is the process which made the modern era. Karl Marx characterized modernization as capitalism, and criticized its problems. In this dissertation, I consider the nature of modernization as dromocratic revolution. Dromocratic revolution made by Paul Virilio means the growth of speed in human history. With this concept dromocratic revolution, I emphasized the connection between pre-modern, modern, post-modern. In Chapter 4, I studied the mode of perception in modernity and the relation between the film technology and the mode of perception in modernity. I consider the mode of perception of modernity as 'linear perspective', 'time-space compression'. Since Renaissance, linear perspective has been the hegemonic mode of perception. Camera technology embodies the linear perspective. time-space compression is the rhetoric describes the elimination of distance between perceiver and percept. Walter Benjamin described the time-space compression in film as the destruction of 'aura'. In Chapter 5, I studied the contradiction in mode of perception in modernity and the reaction to this in film style. Linear perspective presumed the fixed subject. But time-space compression presumed the floated subject. The accelerated speed in dromocratic revolution destructed the fragile balance of both. So the crisis of representation appeared. In film style, Modernism appeared to react the dromocratic revolution. Most of films like Hollywood films has been with the dromocratic revolution. But both of the case reveal the contradiction of itself.

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