원시 언어 혹은 보편 언어로서의 영화 -아피찻퐁 위라세타쿤의 <열대병>을 중심으로-
Primitive Language or Universal language-focused on Tropical Malady of Apichatpong Weerasethakul
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This paper attempts to look into the concept of “primitivism” in the films of Apichatpong Weerasethakul, the Thai cineaste whose is one of the most outstanding figures in contemporary cinema. Apichatpong quested for the embodiment of ‘image text’ rather than ‘language text’ in order to express his outlook on the world and aesthetical point of view through various image-signs in his movie such as Tropical Malady (2004). This primitivism in the Apichatpong’s films is designed to account for that which is inarticulable, wild, corporal, that which exceeds language and hence points to the very essence of cinematic specificity. The primitivism represent also that indefinable moment in a film when sensation consumes the spectator with an overwhelming and indescribably profound intensity. The sublime moment is individual, personal, and subjective, suggesting that it cannot be defined absolutely or resolved conclusively. Specifically, it is notable that the corporal language is the privileged site for this experience of primitivism, and Apichatpong often labored to produce an universal language that would be adequate to this experience. The overriding effect of this experience is the inability to verbalise or rationalise the encounter with any certitude.
Abstract
This paper attempts to look into the concept of “primitivism” in the films of Apichatpong Weerasethakul, the Thai cineaste whose is one of the most outstanding figures in contemporary cinema. Apichatpong quested for the embodiment of ‘image text’ rather than ‘language text’ in order to express his outlook on the world and aesthetical point of view through various image-signs in his movie such as Tropical Malady (2004). This primitivism in the Apichatpong’s films is designed to account for that which is inarticulable, wild, corporal, that which exceeds language and hence points to the very essence of cinematic specificity. The primitivism represent also that indefinable moment in a film when sensation consumes the spectator with an overwhelming and indescribably profound intensity. The sublime moment is individual, personal, and subjective, suggesting that it cannot be defined absolutely or resolved conclusively. Specifically, it is notable that the corporal language is the privileged site for this experience of primitivism, and Apichatpong often labored to produce an universal language that would be adequate to this experience. The overriding effect of this experience is the inability to verbalise or rationalise the encounter with any certitude.
참고문헌 (27)
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