아피찻퐁(Apichatpong Weerasethakul) 영화의 다양한 미학적 전략

Abstract

Apichatpong Weerasethakul is one of the noticeable directors in 21th century. Evaluating his film world is probably intermediate inspection about the dialectic of the modern artistic forms. We can not judge that he knows well thoroughly and embodies modern aesthetic concepts. He is possibly located in the cutting edge like a surfer on the tremendous wave of the film art history. There’s not special cinematic language which defines his artistic paradigm. Only he wonders in a magnetic field of sensory and intuition with placing himself at a wave’s disposal. Photographic punctum is converted with movement image in his films. Also squeeze into a crevice of representation. Finally he enters into double representation as Francis Bacon did. Sometimes he dissolves the storytelling. At the same time, is coming back to the Adam’s language like salmon’s recurrence. And he is on the verge of finality of storytelling before we know. He puzzled spectators with camp and kitsch which are mixed in mythological world. And directly capture the syndrome of ‘love’ which our human being have hold from the beginning of the world. He has a microscope and a telescope, at the same time, he push hard the two views of the world unexpectedly. If I can put that in quote like Deleuze, his films are a kind of apparatus which compel the speculation. There is a node which farewell to a way of modern thought that an accident leads reason awakening and make a special conclusion. We have experienced a point that compelling spectator’s thought in Apichatpong’s films. His art will be keywords which can understand new wave of post modern film history.