스티브 맥퀀의 작품과 구조영화의 관계 연구
A Study of Relations between of Steve McQueen’s Works and Structural Film
0
조회
0
다운로드
2
인용
0
참고문헌
키워드
초록
The aesthetics of structural film could be visible in the work of contemporary filmmaker Steve McQueen. Given the rich set of aesthetic terms this avant-garde film movement has provided, this filmmaker demonstrate renewed iterations of structural film’s formal investigation into the ontology of the filmic medium. Beyond reflecting the movement’s experiments with specificity of the filmic image and the viewer’s conscious perception of it, McQueen places new critical attention on what forms these initial preoccupations have generated. Hence, we found them borrowing structural film’s static shots, long takes, and self-reflexive camera movements in order to re-imagine films like Wavelength and Serene Velocity. Furthermore, in redefining what these filmic forms can do, McQueen unearths an affective political dimension that rests latent in structual film’s form. With work such as McQueen’s Hunger(2008), which recounts IRA Bobby Sand’s 1981 prison hunger strike, the political potential of the structural-flilmic image finds rich expression. In touching upon this figure and this work, I hereby aim to uncover what they may tell us about the relation between the formal and critical functions of the structural-filmic image in its renewed expression.
Abstract
The aesthetics of structural film could be visible in the work of contemporary filmmaker Steve McQueen. Given the rich set of aesthetic terms this avant-garde film movement has provided, this filmmaker demonstrate renewed iterations of structural film’s formal investigation into the ontology of the filmic medium. Beyond reflecting the movement’s experiments with specificity of the filmic image and the viewer’s conscious perception of it, McQueen places new critical attention on what forms these initial preoccupations have generated. Hence, we found them borrowing structural film’s static shots, long takes, and self-reflexive camera movements in order to re-imagine films like Wavelength and Serene Velocity. Furthermore, in redefining what these filmic forms can do, McQueen unearths an affective political dimension that rests latent in structual film’s form. With work such as McQueen’s Hunger(2008), which recounts IRA Bobby Sand’s 1981 prison hunger strike, the political potential of the structural-flilmic image finds rich expression. In touching upon this figure and this work, I hereby aim to uncover what they may tell us about the relation between the formal and critical functions of the structural-filmic image in its renewed expression.
참고문헌 (10)
- 마이클 오프레이, "아방가르드 영화" (2010), 커뮤니케이션북스
- A. L. 리스, "실험영화와 비디오의 역사" (2013), 커뮤니케이션북스
- 아담스 시트니, "시각영화" (2002), 평사리
- 크리스틴 톰슨, "세계영화사-동시대의 영화" (1999), 시각과 언어
- Michael Newman, "Steve McQueen" (1999), Institute of Contemporary Art
- R. Bruce Elder, "Neo-Avant-garde" (2006), Rodopi
- Scott MacDonald, "Avant-garde film" (1993), Cambrige University Press
- Scott MacDonald, "A Critical Cinema 5, Interview with Independent Filmmakers" (2006), University of California Press
- 장민용, "실험영화의 구조적 특성 -미국의 구조영화를 중심으로-", 한국콘텐츠학회 논문지, 14(1), pp.56~65 (2014), 한국콘텐츠학회[DOI]
- Gary Crowdus, "The Human Body as Political Weapon : An Interview with Steve McQueen", Cineaste, 34(2) (2009)