아감벤의 ‘목적 없는 수단’과 벤야민의 이미지로서의 역사철학 그리고 드보르 영화의 몽타주 기법
Agamben’s ‘Means Without End’, Benjamin’s Historical Materialism, and Debord’s Cinema Poetics
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The main aim of this paper is to examine the interconnected worlds of poetics of the three theorists, Agamben, Debord and Benjamin, and to see what they commonly aim at. Agamben’s ‘Means without End’ reflects Debord’s cinema poetics. In Debord's cinema poetics montage image functions as ‘a prolonged hesitation between image and meaning' just as Agamben's pure means does as “uneasy hesitation” before the separation of the sacred and the profane. Debord's montage poetics, which aims not the return of the identical but that of the possibility of what was, perfectly matches with Benjamin’s notion of history as image. Just as Debord's montage image aims at the decreation of what was, Benjamin's view of history as image aims at a history of salvation. Each image, according to Benjamin, is charged with history and it is the door through which the Messiah enters. We also see Debord’s notion of spectacle helps us understand not only Agamben’s notion of profanation but also Benjamin's notion of secularization.
Abstract
The main aim of this paper is to examine the interconnected worlds of poetics of the three theorists, Agamben, Debord and Benjamin, and to see what they commonly aim at. Agamben’s ‘Means without End’ reflects Debord’s cinema poetics. In Debord's cinema poetics montage image functions as ‘a prolonged hesitation between image and meaning' just as Agamben's pure means does as “uneasy hesitation” before the separation of the sacred and the profane. Debord's montage poetics, which aims not the return of the identical but that of the possibility of what was, perfectly matches with Benjamin’s notion of history as image. Just as Debord's montage image aims at the decreation of what was, Benjamin's view of history as image aims at a history of salvation. Each image, according to Benjamin, is charged with history and it is the door through which the Messiah enters. We also see Debord’s notion of spectacle helps us understand not only Agamben’s notion of profanation but also Benjamin's notion of secularization.
참고문헌 (20)
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