인간 현존을 사유하는 하이퍼리얼 시네마로서 울리히 자이들의 영화미학-알랭 바디우 영화론의 관점에서, <파라다이스: 소망>을 중심으로-

Abstract

This article examines the filmic aesthetics of Ulrich Seidl from theperspective of Alain Badiou’s thought of cinema. The Austrian director UlrichSeidl produces the unique hyperreal cinema by hybridizing and overcoming bothof the documentary and the fictional. Through this method, Seidl achieves providingthe existential human-presence and the reflective thought about that. Alan Badiou thinks that cinema is the subject of the contemporary thoughtwhich makes the viewer understand the human presence. Cinema is a manifestoof the human presence for Alain Badiou. In that point, “cinema is an education,an art of living, and a thinking.” (Alain Badiou, Cinema, Polity Press, Cambridge,2013, p.ix.)Paradies: Hoffnung (2013) is analyzed from this perspective in this article. Seidl presents in this film diverse people like teenagers, teachers, medicaldoctor, who all join and work in a summer weight-loss camp for the teenagers. A girl falls in love with her doctor, while the strict rules against the physicallust suppress the participants. She, Melanie, the daughter of Theresa, the heroinin Paradies: Liebe and niece of Anna Maria, the heroin in Paradies: Glaube,makes an adventure to realize her hope. Ulrich Seidl’s Images are highly real, but at the same time artificial. Thoseare seen as ‘the imitation of life’, rather than life itself. Seidl makes his ownvision into the filmic images, into the hyperreal images. The photographic images in his film can be regarded also as a sort of antirealism, even if they arehighly real. The Hyperreal Cinema created by Ulrich Seidl, a filmmaker of New AustrianCinema, is relevantly to understand in the light of Alain Badiou’s thought ofcinema, since it produces the contemporary thought through the cinematic imageswhich project the human presence.