시각 예술에서의 재현의 역할

Abstract

Representation aesthetics has been recognized with an essential theory of the art since Aristotle had adopted mimesis as a method of the art. Artists have endeavored for the transparent representation in every era. But a crack broke out in the myth of the representation with the invention of the photography and the cinema. The supreme transparency of the new media induced a new perspective for the representation aesthetics, which had dominated the art world. The art derived from the representation stood on the crossroad of changing direction. Modernism aesthetics wanted to search for the self-referentiality in order to the replacement of the only principal that has been recognized for the universality. Cubism made up the chink of representation with relativity of the truth and Abstract Expressionism entered into the world of the image and Nonrepresentationalism instead of the mimesis. Surrealism also constructed his own empire with association of ideas and automatism beyond the logos that we could perceive. But the deconstructed representation by modernism and avant-garde still sustained its life in the cinema. Many spectators in the theater sought for the stability through the transparency of the representation. Identification that the effect of the representation created was the only comfort to the people who were tired by the labor in the time of industry. Notwithstanding, critics blamed the identification for its stance of non-resistance and the absence of criticism. Classical narrative cinemas are considered as a special mechanism, which poured the dominant ideology into the spectators. But representation aesthetics returned in a dominant method of cinema through supreme transparency and forceful identification effect. At last, representation is the only method to the artists, now, we should admit of a merit of representation and suture a crack with new aesthetics for the better artistic figure.