사유의 거처와 카메라의 자리: 하이데거의 존재론과 영화의 미적 향유

Abstract

Just as in art appreciation, richness and completeness of enjoyment are achieved while experiencing the gaze of the painter and the character, in the movie, it can be secured through the gaze of the camera. Therefore, the audience's immersion in the screen based on the location and movement of the camera is the basis of cinematic appreciation. A suitable environment that provides immersion in this enjoyment is the movie theater. The privileged status of the movie theater as a place of enjoyment is not simply the size of the screen or the magnificence of sound. Rather, it is because film art makes it its main purpose to participate in the spirit of the artist and diegesis within cinematic time. In accordance with such a critical mind, this study is to discover the meaning of recognizing humans and the world through the eyes of a camera, and to reconsider the value of the cinema as a dwelling place for thought. To this end, the camera was examined in terms of the director's position, the character's memory, the audience's gaze, and the ontological depth of the world. The films of Abbas Kiarostami and Hong Sang-soo reveal the position of the camera and its significance.