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송가현(Kahyun Song) 현대미술학회 2016 현대미술학 논문집 Vol.20 No.2
이 글은 현대영화를 분석하는 하나의 실천적 계기로서 극장성을 탐구한다. 이를 위하여 들뢰즈가 제시하는 영화와 사유의 관계를 살펴보는 것으로 논의를 시작하고 오늘날 극장성이라는 독특한 미학적 논리를 통하여 현대영화를 분석하기 위한 이론적 근거를 마련한다. 새뮤얼 웨버에 의해 더 이상 재현적 장르가 아닌 매체로서 이해되는 극장성의 개념은 현대영화가 지속적으로 생산해내는 극장적 양상들을 분석하기 위한 새로운 틀로서 작용한다. 궁극적으로 이 글은 스크린과 무대라는 관계 속에서 일어나는 움직임들을 탐구함으로써 매체로서의 극장성이 영화를 통하여 현실에 틈을 낼 수 있는 가능성을 타진해보고자 한다. This study aims to offer some aesthetic considerations on theatricality in cinema. This will inquire into some movement occurring between theatre and cinema, or between cinema and the theatrical and then examine how theatricality can be applied to cinema, after all. So a large part of this study depends on Gilles Deleuze"s theory of cinema and Samuel Weber"s cultural theory as the theoretical background. In particular, this study pays a special attention to the phenomena which take place when theatricality is considered as a medium, and discuss the possibility in which this theatricality within cinema can create a crack in reality. According to Weber, theatricality is not a process of representation, but a process of framing. Thus, the significance of theatricality lies in resisting the movement which tries to reduce cinema to a means for meaningful representation. If theatricality is a medium, it is supposed to open communication. Therefore, theatricality as medium extends the form of cinema, for it is not for filling the gap, but for linking and separating. By doing so, it opens the closed structure of a self-sufficient plot and converts the screen to the stage. And also by being itself a stage, the screen becomes more than itself. The screen is no longer a transparent space that allows the unified and self-contained plot to emerge, but converts itself to a space of irreducible opaqueness. This deconstructive movement can reveal many problematic situations under the logic of representation, that is, what traditional Western metaphysics has strived to defend. This is where the possibility of cinema enters - the possibility that it embodies the sway of being and creates a crack in reality. Theatricality exists as a medium by disintegrating the reality. So theatricality as medium serves as a possibility to crack the reality not only in cinema, but also in almost all areas ranging from popular culture to electronic new-media art. And this is why we need to discuss theatricality here and now.
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