아피찻퐁 위라세타쿤 영화의 이중적 구조 －영화적 구조에서 신화적 구조로의 확장－
Dual Structure of Apichatpong Weerasethakul’s Films - Expansion from Filmic Structure to Mythological Structure -
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Apichatpong often mentions that his films are affected by Structural Film, especially by Michael Snow, Paul Sharits and Andy Warhol’s films. However it’s difficult to define ‘Structural Film’ because the definition of Adams Sitney who wrote the thesis ‘Structural Film(1969)’ is vague and there have been a lot of arguments about it among theorists and critics since it was published. This article analyses the influences of Structural Film on Apichatpong’s films after surveying the arguments about Structural Film in diachronic and synchronic ways. In terms of content, Apichatpong’s films have dualities: city/forest, day/night, male/female and so on. The ethnological studies on Northern Thai myth and ritual reveal that they have dual structure similar with his films. Northern Thai’s ritual functions as the foundation of discrimination of sex, age, region, etc. but its myth makes such discriminations ambiguous. The mythological analysis about Northern Thai myth and his films is effective to infer the relation between them and to interpret symbols of forest, night, tiger and so on. Apichatpong’s films show the property to repeat same scene in a film or across his films. The repetition is not only relocation of context but also regression to archetypal time to be repeated by others. In his films a character is not an individual to have his own personality but one to represent archetypal category. The synthesis of Modernism and Tradition is the essence of the uniqueness of Apichatpong’s film language. He made his own way between the objectification of Modernism and mystification of Thai Tradition.
Abstract
Apichatpong often mentions that his films are affected by Structural Film, especially by Michael Snow, Paul Sharits and Andy Warhol’s films. However it’s difficult to define ‘Structural Film’ because the definition of Adams Sitney who wrote the thesis ‘Structural Film(1969)’ is vague and there have been a lot of arguments about it among theorists and critics since it was published. This article analyses the influences of Structural Film on Apichatpong’s films after surveying the arguments about Structural Film in diachronic and synchronic ways. In terms of content, Apichatpong’s films have dualities: city/forest, day/night, male/female and so on. The ethnological studies on Northern Thai myth and ritual reveal that they have dual structure similar with his films. Northern Thai’s ritual functions as the foundation of discrimination of sex, age, region, etc. but its myth makes such discriminations ambiguous. The mythological analysis about Northern Thai myth and his films is effective to infer the relation between them and to interpret symbols of forest, night, tiger and so on. Apichatpong’s films show the property to repeat same scene in a film or across his films. The repetition is not only relocation of context but also regression to archetypal time to be repeated by others. In his films a character is not an individual to have his own personality but one to represent archetypal category. The synthesis of Modernism and Tradition is the essence of the uniqueness of Apichatpong’s film language. He made his own way between the objectification of Modernism and mystification of Thai Tradition.
참고문헌 (18)
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