실험영화 <50 피트의 실끈>에 나타난 일상의영화적 구성 연구

Abstract

Experimental Films have been interested in the ways which reality constructs and transforms into unique, essential cinematic vision, raising the questions lurked mechanism of camera and filmmaking process. This study focuses on <50 feet of String> made by Leighton Pierce in 1991 who is an American Experimental filmmaker. In Pierce’s work, the domestic arena becomes the site of visual-auditory dramas that have the potential to undermine conventional ideas about the domestic. Pierce’s consistent use of a variety of subtle dimensions of lens technology and camera placement transforms the spaces he records. He think viewers must see the film as a construction. Also he does layers of visuals and sounds, suggests that the excitement of life is not simply a fuction of accessing new places, but can lie in recognizing the astonishing complexity of the spaces nearby. What close attention to the particulars of Pierce’s imagery and sound reveals is that, while <50 feet of String> does locate viewers within his domestic space in Iowa, the film we watch is an experience that lies somewhere between perception and memory, between fact and fiction. It is fundamentally cinematic reality, rather than a simple diary of Pierce’s personal life. Further, it is a confrontation of the traditional assumption that Eden is distant place that we must journey to. For Pierce, the screening roon is a place ofperceptual concentration that can train us to recognize and appreciate the Edens that surround us and those we have internalized