영화적 시각의 변형에 대한 연구 = 실험영화를 중심으로

다국어 초록 (Multilingual Abstract)

Experimental Films have been interested in the ways which reality transforms into unique, essential cinematic vision. Thus we have to seek to how to change real world into unique cinematic world.
Many experimental filmmakers have changed the perceived vision into filmic vision throughout a lot of ways. Physical world which captured from camera lens transforms into cinematic world by recording on the celluloid. We can imagine that experimental film has developed throughout the ways which change representational imagery or studies on techniques. Historically, experimental filmmakers have shown an almost obsessive fascination with the relationship of the human eye to the camera eye. The eye is both the source of filmic vision and matrix for avant -garde film theories of perception.
One important transforrnatory aesthetic has been a reexamination of the meaning of the single film frame. Heretofore, it has been common to view film's most basic unit as the 'shot' which is composed of many frames of film photographed from the same camera position. A film was thus simply a series of shots linked together by editing.
By emphasizing the single frame, the filmmaker can intensify the viewing experience as more information can be squeezed into each single frame. It can also mean that the conventional illusion of motion is revealed.
Another major part of the aesthetics of transformation lies in the questioning conventional film technique. Experimental film's technique can be much more open and diffuse compared to conventional film, In one sense, there are no technical mistakes in an experimental film, In fact, technical mistakes and flaws may better reveal the fabric of filmic reality by exposing illusions that conventional technique attempts to hide. Instead of an absolute hierarchy of technical laws, each experimental film must be evaluated independently by its own use of technique
Experimental filmmakers have attempted to find out the interrelationship between camera and the person behind it. As the eye and camera lens become one, man and machine are united in a tenuous relationship. One critical feature of experimental film is the effort to make film a human, not a mechanical, form of art. In other words, filmic transformation means the desire of experimental filmmakers to change a mechanical means of perception into a human vision.

목차 (Table of Contents)

• 1. 들어가는 말
• 2. 역사적인 배경
• 3. 영화의 시각적 변 형
• 4. 맺는 말
• 참고 문헌
• Abstract

참고문헌 (Reference)

1 "뉴미디어 영상미학" 민음사 1994

2 "What We See in the Films The World in a Frame" Doubleday Anchor Press New York 1977

3 "Visionary Film:The American Avant-garde" Oxford University Press newyork1974

4 "The Writing of Dziga Vertov" Praeger Publishers 1970

5 "Screen/Surface ; The Politics of Illusionism" 197209

6 "Paul Theobald and Company" Chicago 1956

7 "Movie Journals The Rise of the New American Cinema 1959-1971" Macmillan Company 1972

8 "Modernism and the Avant-garde" Oxford University Press 1998

9 "Light Moving in Time University of California Press" 1992

10 "Light Moving in Time University of California Press" 1992

11 "Film as Film 윤보엽 옮김 영화는 영화다" Penguin Books 1972

12 "An Interview with Peter Kubelka" 1967

13 "An Interview with Michael Snow Form and Structure in Recent Film" 1972

14 "A Pentagram for Conjuring the Narrative" 1972