드론 카메라와 고프로(GoPro) -탈체현적 디지털 카메라와 다큐멘터리의 확장- = The Drone Camera and GoPro -Disembodied Digital Cameras and the Expansion of Documentary-

다국어 초록 (Multilingual Abstract)

This paper discusses the impacts of the drone camera and GopPro as new recording apparatuses afforded by digital technology on the conceptual and aesthetic dimensions of the documentary camera and on the spectatorship of documentary. Considering the traditions of documentary cinema, the technological advancement of recording apparatuses since the introduction of lightweight 16mm cameras has developed the anthropomorphic model of the documentary camera which embodies a cinematographer’s perception. While acknowledging that digital video(DV) cameras and smartphone bulit-in cameras have contribued to proliferating and amplifying the concept of the anthromorphic, embodied camera, this paper argues that the technical features of the drone camera and GoPro allow for a different model of the documentary camera, namely, a disembodied, posthuman camera. Providing the remote-controlled vertical aerial view and targeting its object from a distance, the drone camera activates the digital apparatus’ trancendental gaze that is not totally attributed to the intention of its operator. Moving in accordance with not simply a human body in motion but also any vechile to which it is attached, GoPro is liberated from the traditioal camera’s imperatives to framing and focusing, therefore making it possible to record the posthuman world in which a camera’s body is decentralized and exists equally in things. Drawing on Omer Fast’s 5,000 Feet is the Best (2011) and Sensory Ethnography Lab’s Leviathan (2013), this paper demonstrates the ways in which the disembodied, posthuman vision of the drone camera and GoPro stimulates the viewer’s embodied perception and thereby expands the knowledge of our contemporary world.

국문 초록 (Abstract)

이 논문은 디지털 기술이 도입한 새로운 카메라 장치들인 드론 카메라와 고프로(GoPro)가 다큐멘터리 카메라의 개념적, 미학적 차원과 다큐멘터리의 관람 경험에 미친 영향을 논의한다. 다큐멘터리 영화의 전통을 고려할 때, 디렉트 시네마와 시네마 베리테, 자서전적 다큐멘터리와 에세이 영화는 16mm 경량 카메라의 도입 이후 촬영자의 지각을 체현한 의인화된(anthropomorphic) 카메라의 모델을 발전시켜 왔다. DV와 스마트폰 빌트인(bulit-in) 카메라는 의인화된 체현적 카메라 개념의 강화와 확산에 기여한다는 점을 인정하면서도, 이 논문은 드론 카메라와 고프로의 기술적 특성들이 이러한 개념과는 변별적인 탈체현적(disembodied), 탈인간적(posthuman) 카메라 모델을 낳는다고 주장한다. 원격으로 제어되고 수직적인 항공 조망과 목표물에 대한 초점화를 가능하게 하는 드론 카메라는 조작자의 의도에 온전히 귀속되지 않는 디지털 장치의 초월적 응시를 활성화한다. 행동하는 인간의 신체는 물론 어떤 종류의 움직이는 장치에도 부착되어 가동하는 고프로는 촬영자의 프레이밍과 초점화로부터 벗어난 순수 운동의 기록, 카메라의 신체가 탈중심화되어 사물 내에 동등하게 공존하는 탈인간적 세계의 기록을 가능하게 한다. 이 논문은 드론 카메라와 고프로의 이러한 탈체현적, 탈인간적 시각이 관람자의 체현적 지각을 활성화하고 현실에 대한 지식을 확장하는 방식을 오메르 파스트(Omer Fast)의 <최적 고도 5,000피트(5,000 Feet is the Best, 2011)>과 감각민속지랩(Sensory Ethnography Lab)의 <리바이어던(Leviathan, 2012)>을 분석함으로써 입증한다.

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