규격화되지 않는 영상들의 극장술

Abstract

This paper examines the definition of film specified in Korea’s <Korean film & video law>. Today, Korea still uses the Japanese colonial period term for movies. And the ‘映畫(movie)’ currently defines Korean films through the <Korean film & video law> and determines the standards of movies and non-movies. In this paper, the origin of the ‘映畫’ that was used in Korea was first considered. This thesis attempted to explore the ‘continuous images’ that are not movies by drawing the trajectory of visual devices that have been deviated from the film industry. Firstly, I wanted to briefly look at the visual device for about 100 years, and next, I wanted to look at how unstandardized videos are forming a new ‘theatre-technique’. The first device is a projective screen device as a collective visual experience place with movies and theaters standardized today. The second is a personal visual device as a solo view. The third type is the panorama or 360-degree omni-directional view of the panoramic view. Facing the theatre as a starlight explorer, not a spectacular performer, is the perspective of “a screen, not one,” “a manifestation of a monitor body and voice,” and “a walking theater as a performance transition,” focusing on the case of showing new theater-techniques among the exhibitions I conducted as a planner. The theater-technique examined in this paper attempted to examine the possibility of escaping visualization tamed by spectacle images through spatial choreography that can change the viewer’s visual attitude.