동시대 파운드푸티지 영상의 아카이브 수행: 페테르 포르가츠와 피오나 탄의 경우

다국어 초록 (Multilingual Abstract)

Péter Forgács and Fiona Tan’s archival films show the ‘tour de force’ of contemporary found footage. This research intends to argue that their found footages have a practical ‘archive effect’ and archival performativity which deal with the trauma inhered in modernity which cannot appear in itself. Especially I approach it through the concept of ‘trauma’ and ‘post-memory’. They are rewriting traumatic modern history such as Holocaust by National Socialism, tragedies under Imperialism and colonialism. In their works, the trauma is not revealed directly. Their found footages involve spectators into the situation, and finally make aware of different views, therefore the filmic ‘archival effect’ is accomplished. Found footages make multi-directional memory, and remind the absent in representation, also make visible the unspoken and the invisible within the written and the spoken. As a disappered trace, the absent traumatic events are operating as a structure, also the remainder haunts in the archive. The ‘archival effect’ via the anthropological views using research archive, in a distinguished way from the early cinema’s ethnological views. Their films show the same experimental aspects pursued by the past avant-garde directors, but accomplish more meaningful results, by way of archival performing with narrative and also repositioning, repurposing and recontextualizing found footage. This research suggests that it is also the power of the archival performativity inhered the recomposed archival footages.