“포토제니론” 정신의 계승과 발전 방식에서 나타난 영화 이미지의 역량과 몽타주 사유 -장 뤽 고다르의 <영화사>를 중심으로 = Cinematic Photogenie, or Walter Benjamin`s “Dialectical Image” -Represented in Jean-Luc Godard`s Histoire(s) du Cinema

다국어 초록 (Multilingual Abstract)

In the early French film school, photogenie referred to the camera’s capacity for conveying the essence of the (“spirit”) of things-especially through the ontological traces of the referent, which is imprinted on the film negative. This essay traces how the concept of photogenie has influenced film theory by examining a few relevant film theorists, including Jean Epstein, Fernand Leger, Bela Balazs, and Walter Benjamin. In particular, we compare discussions of photogenie with Benjamin’s concepts of the “optical unconscious” and “dialectical image.” In so doing, we showcase that Benjamin’s understandings of media and image take a theoretical homology with photogenie. In addition, we analyze Jean-Luc Godard’s Histoire(s) du Cinema that includes various experimental modes of images in a hope to disclose that the spirit of photogenie is embedded in Godard’s usage of cinematic montage, memory, and history, and in return echoes Benjamin’s understanding of visual media and image.

참고문헌 (Reference)

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