실험영화의 프레임 연구

Abstract

This paper offers an in-depth analysis of the role and essential significance of the frame in avant-garde film. In narrative film, the frame functions as a boundary for images and serves as a tool to maintain continuity and realism in storytelling. However, in avant-garde film, the frame acts as a crucial element that explores the materiality, temporality, and visual rhythm of the film medium. This examines how, within the tradition of avant-garde filmmaking, the frame drives cinematic experimentation. Particularly, the works of Tony Conrad’s The Flicker and Paul Sharits’ experimental films are ex plored to analyze how the interaction between frames influences the viewer’s visual and cognitive experiences. These films use visual stimuli such as the flicker effect to remove the narrative function and instead stimulate the viewer’s visual senses and cognitive responses, demonstrating how the film medium can function as a source of sensory stimulation. Additionally, Stan Brakhage’s Mothlight is examined, where natural materials are directly attached to film strips without a camera, emphasizing the material properties of the film and creating a new kind of visual experience through the interplay of light and nature. This paper also delves into the analysis of found footage works by Peter Tscherkassky and Martin Arnold, focusing on how they reconstruct the physical characteristics and historical meanings of the film medium. These avant-garde filmmakers deconstruct traditional film narratives and recombine the physical characteristics of film frame by frame, offering viewers a novel sensory experience that goes beyond conventional cinematic storytelling. Through this, the film medium is shown to function not just as a vehicle for storytelling but as an independent material with artistic and physical properties. In conclusion, this paper discusses how the frame serves as an experimental tool in avant-garde cinema to explore the essence of the film medium. Through the frame, films transcend narrative structures, focusing on form and structure to create cinematic experiences, offering viewers new visu al and aesthetic possibilities. This research significantly contributes to the development of film aes thetics and re-examines the role of the frame in expanding the potential of the film medium.