어니 기어의 실험영화 연구
A Study of Experimental Films of Ernie Gehr
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More than fifty years, American expermental filmmaker Ernie Gehr has been making cinematic magic from filmic mechanism and basic elements. For Gehr, the most everyday spaces and the most mundane action offer the imaginative filmmaker the most interesting potential. No other filmmaker has so persistently and productively explored the capacity of filmmaking to develop the visual and auditory opportunities offered by the cinematic apparatus itself. Gehr’s first film is <Morning> in which he transforms the interior of part of a New York City loft into a camera obscura by manipulating the exposure of his camera frame by frame. After that, he explored a variety of cinematic territories. Most of them somewhere in between the still photography and the conventional uses of motion picture. His work, rather than using machines to recreate human vision and excavate fantastical scenarios from our unconscious, allow viewers to see and understand as a camera does. For Gehr, film is a thing and not an imitation and don’t reflect on life, but rather embodies the life of the mind. Film is not a vehicle for ideas or portrayals of emotion outside of its own existence as emoted idea. Film is a variable intensity of light, an internal balance of time, a movement within a given space.
Abstract
More than fifty years, American expermental filmmaker Ernie Gehr has been making cinematic magic from filmic mechanism and basic elements. For Gehr, the most everyday spaces and the most mundane action offer the imaginative filmmaker the most interesting potential. No other filmmaker has so persistently and productively explored the capacity of filmmaking to develop the visual and auditory opportunities offered by the cinematic apparatus itself. Gehr’s first film is <Morning> in which he transforms the interior of part of a New York City loft into a camera obscura by manipulating the exposure of his camera frame by frame. After that, he explored a variety of cinematic territories. Most of them somewhere in between the still photography and the conventional uses of motion picture. His work, rather than using machines to recreate human vision and excavate fantastical scenarios from our unconscious, allow viewers to see and understand as a camera does. For Gehr, film is a thing and not an imitation and don’t reflect on life, but rather embodies the life of the mind. Film is not a vehicle for ideas or portrayals of emotion outside of its own existence as emoted idea. Film is a variable intensity of light, an internal balance of time, a movement within a given space.
참고문헌 (7)
- A.L.리스, "실험영화와 비디오의 역사" (2013), 커뮤니케이션북스
- 크리스틴 톰슨, "세계영화사-동시대의 영화" (1999), 시각과 언어
- R. Bruce Elder, "Neo-Avant-garde" (2006), Rodopi
- Jeffrey Skoller, "Sublime Intensity : An Interview with Ernie Gehr", 19~ (1997)
- Scott MacDonald, "Avant-garde film" (1993), Cambrige University Press
- Scott MacDonald, "A Critical Cinema 5, Interview with Independent Filmmakers" (2006), University of California Press