기억의 영화적 재현에 대한 연구 -미국 아방가르드 영화를 중심으로-

Abstract

Two tendencies, within work that has come out of the American avant-garde, are particulary salient regarding the cinematic representation of memory. These are, first, investigation into cinematic ontology and, second, films that engage in cinematic autobiography. Avan-garde investigations into cinematic ontology continued to flesh out the material connections between film and memory. Ernie Gehr's film <Reverberation>(1968-69) provides a framework through which we can further examine this relationships because it evocatively and poetically demonstrates the ontological tension between cinematic preservation and deterioration. The nexus between cinematic ontology and autobiography is articulated in Hollis Frampton's film <(nostalgia)>(1970-72). Indeed, the autobiographical impulse in (nostalgia) deepens the ontological discourse, opening up new paradigms and impasses in the cinematic representation of memory and the past. Autobiography is framed, then, Frampton's film through question of cinematic form. While Frampton engages in the formal language of film to polemicize self representation, Jonas Mekas positioned film as the appropriate site for the inscription of the self. In <Lost, Lost, Lost>(1975) Mekas vigorously embraces film as a means of self expression as well as a method of self documentation. In both films, autobiography test, polemicizes and expand the language of film as the filmmaker attempt to represent the self, as it can be constituted within film, In <(nostalgia)>, Frampton experiments with film form in order to investigate the process of recollection. In <Lost, Lost, Lost>, Mekas uses film as a form to evoke his autobiographical past but also, importantly, to construct a kind of filmic memory.