정동영화가 추구하는 정동적 잠재성의 인문학적 가치

Abstract

The purpose of this study is to understand the cinematic methods and aspects of actualizing 'virtuality' as power and quality by examining the editing processes of 'the affective cinema', which Gilles Deleuze discussed in his cinema theory. With regard to the affective cinema and the relevant directors such as Carl Th. Dreyer, Joseph Sternberg, and Robert Bresson, this study considers their perspectives on virtuality, and classifies aspects of maintaining and expressing the perspectives in their cinemas. We can find in these cinemas that they consistently pursue the "de-organic", "non-representational", or "de-spatial" images. The directors have tried to find the way of freeing 'Life' from the real constraints in quest of the de-organic images that might reflect the new and unusual standpoint of perceiving and interpreting the outside world. For example, the affective emancipation in close-up image(Dreyer); the lyrical idealization by soft focus and whitening montage(Sternberg); and the de-organic images by fragmentation editing(Bresson), which could commonly be called the 'de-organization' or 'de-functionalization'. Although these directors use their own respective methods to express affects, they do have something in common that they make things and spaces de-organic and de-functional in order to extract the virtual, the other side of the actual, from reality. The virtual images their affective films express are a criticism of life dominated by the functional needs and habitual schemes, as well as a grope for the chance of new life. We make much of the humanistic value in these images. When the images are de-organized, de-spatialized, or virtualized in the affective films, the audiences come into the new relations with the images and objects in them, and perceive the space in a different way than the usual and actual life. The de-functionalization of the images in the affective films paradoxically reflects humanistic capabilities through which we could have potential to approach the real entity of life by detaching ourselves from the functional needs for life. For humanities are the study of the real condition of life, that is, of the justification of life rather than the actual or useful needs for life. Accordingly, this study argues that the virtual the affective films show is closely related to the real condition of life, hence that they are of value as a humanistic criticism of life.