감성적 지각 대상으로서 디지털 테크놀로지 시대의 영화-영화 <아티스트>를 중심으로-

Abstract

Recently, unlikely before the digital technology era the cinema in the digital era shows a special cinematic attitude and offers a corresponding cinematic experience to the cinema audience. With being related to the development of the digital technology, this cinematic attitude is significantly different from that of the 20th century and has a decisive effect on the perception of the recipient. For example, we encounter the new perceptual tendency in digital cinema, related to not only the aesthetic or the rational consideration but also general aesthetics, namely perception in the broader sense. Expecially the spectacle image in the digital visual ear is more overwhelming than ever. This experience of shock (Schockerlebnis) brings the cinema audience a special experience, namely ‘Erlebnis’(Benjamin) not ‘Erfahrung’. Therefore optical tactility in the cinematic experience of the digital era becomes increasingly significant. Since the appearance of digital media technology, interactivity with the recipient has been one of most crucial things. With this study I try to explain how the cinema audience perceives the image and the other cinematic format in the digital technology era. With paying attention to the change of the perception of the audience in corresponding to the development of the media technology, we can understand better a new phenomenon about the ‘digital cinema communication’. I am going to analyze digital cinema <The Artist>(2011) by Michel Hazanavicius, that was produced in the a general practice in the silent picture days, i.e. black and white without sound, 1.33:1 screen ratio, at a slightly lower frame rate of 22 frame per second, etc., in order to recreate 1920s silent film. In spite of the silent picture format, <The Artist> is not a silent picture. Most of the cinema is silent, but it has not only two scenes with sound but the non-diegetic soundtrack. These special sounds make the audience feel a spectacle and provide them a special experience. Namely this cinema is intended to be perceived as a digital cinema that is focusing on optical tactility of the cinema audience. With analysing sound strategy in the cinema <The Artist>, I would like to explain the sensitive perception focussed on optical tactility of the cinema recipient in relation to the development of the media technology.