실험영화의 자기반영적 특성연구

Abstract

There is a self-reflexive quality to experimental cinema that seeks to explore the qualities of cine- ma on the other side of mainstream narrative cinema. Beginning with an analysis of The Man with the Camera, a classic example of both experimental and documentary cinema, this article examines several films that demonstrate the self-reflexive qualities of experimental cinema, which are dis- continuous, arbitrary, and openly cinematic, on the other side of the spectrum from the illusionistic qualities of conventional cinema. These films create a new cinematic world by analyzing and studying heterogeneous film images frame by frame, between image and image, between objectivity and sub- jectivity, between the human eye and the camera lens. The film shows the life of the city in its own language. Louis Vigneault emphasized the "arbitrariness of cinematic composition," noting the formal discontinuity of the film's "seemingly random sequence of frames." Rosenblatt addresses social and political issues from a personal perspective in an original and alternative cinematic form, weaving to- gether a variety of apparently disparate cinematic images, both in form and content, including found footage and images taken by the artist herself, into an original and delicate collage. Arnold's ap- proach is to analyze and study the individual works in detail, bringing to the surface the meaning and emotions latent in the images and sounds, frame by frame. In doing so, the original works are re- configured and transformed to create a cinematic universe that is uniquely Arnold's own, revealing his signature humor, enjoyment of the cinematic form itself, and latent psychological meanings. By freeing itself from classical and conventional cinematic forms, the movie frees itself from the shackles of continuity and coherence. Experimental cinema, which has been exploring the artistic possi- bilities of cinema since its inception, approaches this self-reflexive nature of cinema in a different way.