‘영화적인 것’의 기원으로서의 모스크바: 발터 벤야민의 영화매체론의 관점에서 본 『모스크바 일기』
Moscow as the Origin of the Cinematic: Rereading of W. Benjamin's Moscow Diary in the Perspective of His Media Theory
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One of the most important achievements Benjamin has gained from his trip to Russia was his motivation to develop the ideas vis-a-vis cinema onward. The Russian experience here does not refer to the very films Benjamin had seen during his stay in Moscow. It designates some key features of “the cinematic” as media, including cultural and political conditions that make it possible. This paper attempts to reassess W. Benjamin’s Moscow Diary in terms of reflection on cinematic media, elucidating his two months stay in Moscow as a special kind of “cinematic” experience. While pointing out some characteristic moments when Benjamin succeeded in capturing certain typical insights related to cinematic sensations from a series of concrete sensory stimuli received in Moscow (for example, tactile sensation while riding in tram and sleigh), we will try to sketch the contour of his thinking on cinema in a way that he had reconstructed these insights from Moscow in various different contexts of works he wrote after Moscow. In the course of the analysis we will see how the new mechanism of “optical unconscious” and “body-space (Leibraum)” in the name of “new barbarism” were evolving into the concepts of “collective innervation” or “reception in distraction” in his famous essays on media in 1930s.
Abstract
One of the most important achievements Benjamin has gained from his trip to Russia was his motivation to develop the ideas vis-a-vis cinema onward. The Russian experience here does not refer to the very films Benjamin had seen during his stay in Moscow. It designates some key features of “the cinematic” as media, including cultural and political conditions that make it possible. This paper attempts to reassess W. Benjamin’s Moscow Diary in terms of reflection on cinematic media, elucidating his two months stay in Moscow as a special kind of “cinematic” experience. While pointing out some characteristic moments when Benjamin succeeded in capturing certain typical insights related to cinematic sensations from a series of concrete sensory stimuli received in Moscow (for example, tactile sensation while riding in tram and sleigh), we will try to sketch the contour of his thinking on cinema in a way that he had reconstructed these insights from Moscow in various different contexts of works he wrote after Moscow. In the course of the analysis we will see how the new mechanism of “optical unconscious” and “body-space (Leibraum)” in the name of “new barbarism” were evolving into the concepts of “collective innervation” or “reception in distraction” in his famous essays on media in 1930s.
참고문헌 (19)
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