감각운동도식을 넘어서기 위한 영화적 사유-파졸리니의 자유간접화법을 중심으로-
Cinematic Speculation for Overcoming ‘Sensori-Moteur Schéma’-Focusing on Pasolini’s free indirect discourse-
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Most huge matter in the art history is representation. If the ground of art were in the world, the things which making a way of looking and express the world have been artist’s interest. Although the progress of technology guaranteed transparency of media to some degree, the matter of representation not limited to optical aspects. The discourse, of ‘point of view’ and ‘perspective’ make reveal its limitation. Accordingly, representation come to how to do, many artists put out their various answers. With the advent of Italian NEO-realism, modern cinema speculated time itself and made farewell to sensori-moteur schéma. Cinematic modernism fought against single narrative through multiple narratives and liberated narrative from obsession through open ending structure. Ironically, the cannon of modernism such as ‘speculation to time-image’,‘multiple narratives’, ‘open ending structure’ reconnected through the matter of representation. However returned representation took off the legend of transparency and accompanied essential question “how to see the world”, Since the matter of seeing is apt to become the matter of power. There are numerous networks in the matter of representation. If we neglect it, we can’t speculate substance of the world. For this reason, modern cinema dragged ‘semi-subjective image’ naturally. Finally Modern cineaste acknowledged the power of camera’s eye which can cross over subjectivity and objectivity. Free indirect discourse is the path of out of bounds. Also the natural attribute of cinema, semi-subjective image is revealed through it. Pasolini would have identified his theory with cinematic attributes at that time. He did not made cinema but film. It was not until then that cinema can integrate subjectivity and objectivity to some degree with his theory. One who dreamed total cinema as media hope that multiple narratives will meet life-log in the future. Romanticists who did not abandon the legend of total cinema in another sense want integrate subjectivity and objectivity through free indirect discourse. This Pasoliini’s endeavor showed a model whom wants to make a total cinema. Free indirect speech will present new direction to cinema that might be disappear someday in the future by providing epistemological thoughts. If these hopes will be achieved, cinema will be hologram in front of us beyond screen. The moment, the world will be a cinema.
Abstract
Most huge matter in the art history is representation. If the ground of art were in the world, the things which making a way of looking and express the world have been artist’s interest. Although the progress of technology guaranteed transparency of media to some degree, the matter of representation not limited to optical aspects. The discourse, of ‘point of view’ and ‘perspective’ make reveal its limitation. Accordingly, representation come to how to do, many artists put out their various answers. With the advent of Italian NEO-realism, modern cinema speculated time itself and made farewell to sensori-moteur schéma. Cinematic modernism fought against single narrative through multiple narratives and liberated narrative from obsession through open ending structure. Ironically, the cannon of modernism such as ‘speculation to time-image’,‘multiple narratives’, ‘open ending structure’ reconnected through the matter of representation. However returned representation took off the legend of transparency and accompanied essential question “how to see the world”, Since the matter of seeing is apt to become the matter of power. There are numerous networks in the matter of representation. If we neglect it, we can’t speculate substance of the world. For this reason, modern cinema dragged ‘semi-subjective image’ naturally. Finally Modern cineaste acknowledged the power of camera’s eye which can cross over subjectivity and objectivity. Free indirect discourse is the path of out of bounds. Also the natural attribute of cinema, semi-subjective image is revealed through it. Pasolini would have identified his theory with cinematic attributes at that time. He did not made cinema but film. It was not until then that cinema can integrate subjectivity and objectivity to some degree with his theory. One who dreamed total cinema as media hope that multiple narratives will meet life-log in the future. Romanticists who did not abandon the legend of total cinema in another sense want integrate subjectivity and objectivity through free indirect discourse. This Pasoliini’s endeavor showed a model whom wants to make a total cinema. Free indirect speech will present new direction to cinema that might be disappear someday in the future by providing epistemological thoughts. If these hopes will be achieved, cinema will be hologram in front of us beyond screen. The moment, the world will be a cinema.
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