장 뤽 고다르의 영화에서 나타나는 자기 반영성: <만사 쾌조(Tout Va Bien)>, <넘버 2(Numero Deux)>, <JLG/JLG>을 중심으로

Abstract

Self-reflexivity of Jean-Luc Godard's films: focusing on <Tout Va Bien>, <Numero Deux>, <JLG/JLG> Kim, Gye-joong programmer/Experimental Film & Video Festival in Seoul (EXiS 2005) Jean-Luc Godard is the one of the most influential film-maker of the whole history of cinema. He has never stopped working on creating new concept of cinema, which should, assumingly, he claims, reveal the 'real' reality of the totality of production and aesthetics of itself. Throughout his almost 50 years of highly prolific and continuous productions, the persistent idea he's been pursuing might be defined as cinema of self-reflexivity. I selected and arranged three films that could represent a few shifting moments of his strategy on self-reflexivity. The one of his early films, <Contempt> continues its narrative strategy, 'a film within a film' structure, on <Tout Va Bien>, <Numero Deux> represents an essential period of his trial with video production in the context of cinema. The de-composed video images generated by analogue technology suggest the issues on multilateral interpretation of meaning of photographic or moving image and also reveal the mechanism of image making process. <JLG/JLG> has very different approach to its trope, which was produced in much later time approximately when he was investigating the position of 'author' more consciously. He takes very heavy the task on de-constructing the multiple layers of his selfness as an author/director/actor/writer/addresser/addressee, etc. They reside in the same virtual body, JLG, however, mutually functions each other in his film.