서사의 실패를 서사화하기: 영화적 재현을 매개하는 서사-형식의 이데올로기적 본성에 대한 탐구

Abstract

This paper aims to contribute to opening the horizon of ‘Historical’ thinking about our present by transcoding a series of problems that have been dealt with usually in the problematics of representation into the narrative ones. To that end, the paper makes three theoretical points. First, the form that sustains today's seemingly undoing of content is none other than narrative. Narrative here does not simply refer to the linear passage of time, but is a dialectical principle that reveals representation itself is always overdetermined with its impossibility. In particular, Jean-Louis Comolli's critique of the spectacle shows that even when the world itself has become one giant spectacle, the paradox of the subject being alienated by his or her own desire can allegorically point to the limit within the spectacle. No representation, including spectacle, can ever escape the operation of narrativization in this way of allegorizing itself. Second, in a time when traditional narrative conventions no longer work, the moment of narrativization is found from the failure of the narrative itself. Fredric Jameson sought to appropriate Syberberg's work, a non-narrative modernist project, as a “cultural revolution” and to show that its failure was historically inevitable. Third, to historicize failure is to reveal that the present is itself based on the ultimate limit. The fact that there is a dialectical turn missing from the achievement of Neorealism, which André Bazin praised, becomes visible only through a historical perception of postmodern space. In doing so, it reveals that our own present is itself within the fundamental limits of History. Then, narrative isn't dead in cinema today. It is finally revealing itself as the (im)possibility of content. In other words, cinema is a contradictory movement that has always had negativity within its own limits and has paradoxically used those limits as a springboard to move to a new stage.