복제 이미지의 초상 - 번역과 리메이크

Abstract

Through explicating a French film theorist Andre Bazin’ idea of mixed cinema and a Russian theorist Mikhail Iampolski’s theory of translation and reproduction, I would like to argue todays’ prevalence of intermedial remakes not only manifests active remediation in film which dismantles the teleological understanding of translation, but it also expands artistic insights of the public which will be the force to stultify the cartel of discourse-producing elites. In particular, this paper focuses on the ambivalent temporality of images of mechanical reproduction and argues that the aspect of recognition taking place in the course of ‘immediate’ reproduction become the new domain of cultural signification. Iampolski elucidates that copying, a fundamental element of a remake, is actively replacing old elements with contemporary ones, whereas translation is an attempt to preserve the uniqueness of a particular time and space. As a result, if the translation is strictly past-oriented, the latter directs an improved future by constantly providing alternatives and suppressing memories of the past in the process. From this awareness, this essay argues that today's remake sheds lights on the cultural and social meaning of the cloned image. That is to say, reproduction, as contrary to the uniqueness of art and as an important part of popularization, generates re-familiarization of things that are no longer familiar today, and thereby enables a new '(re-)cognition' that was not previously possible. In summary, attempts at duplication to cope with the 'extinction' of today revaluate the information circulated in the public and ultimately evoke the possibility of intellectual equality at the cultural level.