피터 그리너웨이의 작품에 나타난 바로크 미학
Baroque Aesthetic in the works of Peter Greenaway
0
조회
0
다운로드
2
인용
0
참고문헌
키워드
초록
The work of Peter Greenaway poses a complex challenge since it ranges from films to artworks and tends to push against the limits usually accepted for both domains. The themes of his work, such as death, violence and sexuality, mixed with games and different kinds of measuring can be polemical. Furthermore, the treatment that they are given eschews well-known solutions, thus compelling the viewer to take an active role in order to enjoy the work. In this study, the Baroque is proposed as a key, relating different aspects of Greenaway's work that otherwise appear chaotic and incoherent. The term Baroque refers to historical period, but also, and more importantly, to a topic that has been given attention by both art and film critics who do not limit the period exclusively to the seventeenth century. The Baroque is seen instead as an ensemble of strategies that have informed the production of different works of present time. The aim of this study is to find the basic strategies of Greenaway' work that resulted in different formal and thematic manifestations linked to what has been conventionally identified as a Baroque aesthetic. The cinema of Peter Greenaway has consistently engaged questions of the relationship between the arts and particularly the relations of image and writing to cinema. When different types of images are correlated and merged with each other on the borders of painting, photography, film, video and computer animation, the interrelationships of the distinct elements cause a shift in the notion of the whole image. This analysis proposes to articulate the complex relationship between the ‘interartial’ dimension and the ‘intermedial’ dimension in Peter Greenaway's films, <Draughtsman's contract>(1982), <A Zed and Two Naughts>(1986), <Prospero's Books>(1991). If the interartiality is interested in the interaction between various arts, including the transition from one to another, the intermediality articulates the same type of relationship between two or more media. The interactional relationship is the same on both sides; on the contrary, the relationship between art and media does not show the same symmetry. All art is based on one or more media―the media is a condition of existence in art―but no art can't be reduced to the status of media. This suggests that if the interartiality always involves the intermediality, this proposal may not be reversed. Specially we try to show how Peter Greenaway uses pictorial references in order to illustrate the context of the Renaissance and the Baroque as well as pictorial techniques and language in order to question the nature of artistic representation.
Abstract
The work of Peter Greenaway poses a complex challenge since it ranges from films to artworks and tends to push against the limits usually accepted for both domains. The themes of his work, such as death, violence and sexuality, mixed with games and different kinds of measuring can be polemical. Furthermore, the treatment that they are given eschews well-known solutions, thus compelling the viewer to take an active role in order to enjoy the work. In this study, the Baroque is proposed as a key, relating different aspects of Greenaway's work that otherwise appear chaotic and incoherent. The term Baroque refers to historical period, but also, and more importantly, to a topic that has been given attention by both art and film critics who do not limit the period exclusively to the seventeenth century. The Baroque is seen instead as an ensemble of strategies that have informed the production of different works of present time. The aim of this study is to find the basic strategies of Greenaway' work that resulted in different formal and thematic manifestations linked to what has been conventionally identified as a Baroque aesthetic. The cinema of Peter Greenaway has consistently engaged questions of the relationship between the arts and particularly the relations of image and writing to cinema. When different types of images are correlated and merged with each other on the borders of painting, photography, film, video and computer animation, the interrelationships of the distinct elements cause a shift in the notion of the whole image. This analysis proposes to articulate the complex relationship between the ‘interartial’ dimension and the ‘intermedial’ dimension in Peter Greenaway's films, <Draughtsman's contract>(1982), <A Zed and Two Naughts>(1986), <Prospero's Books>(1991). If the interartiality is interested in the interaction between various arts, including the transition from one to another, the intermediality articulates the same type of relationship between two or more media. The interactional relationship is the same on both sides; on the contrary, the relationship between art and media does not show the same symmetry. All art is based on one or more media―the media is a condition of existence in art―but no art can't be reduced to the status of media. This suggests that if the interartiality always involves the intermediality, this proposal may not be reversed. Specially we try to show how Peter Greenaway uses pictorial references in order to illustrate the context of the Renaissance and the Baroque as well as pictorial techniques and language in order to question the nature of artistic representation.
참고문헌 (38)
- 고위공, "문학과 미술의 만남" (2004), 미술문화
- 권정임, "텍스트와 형상. 예술의 학제간 연구를 위한 고찰." (2005), 서울: 미술문화사
- 김영진, "미지의 명감독" (1997), 한겨레 신문사
- 백문임, "모더니티와 시각의 헤게모니" (2004), 시각과 언어
- 박정자, "빈센트의 구두" (2005), 에크리
- 발터 벤야민(Walter Benjamin), "독일 비애극의 원천" (2009), 한길사
- 신정환, "세베로 사르두이의 네오바로크 미학 연구", 외국문학연구, 5, pp.75~92 (1999)
- 신정환, "바로크와 네오바로크", 라틴아메리카연구, 12(1), pp.205~225 (1999)
- 이영철, "21세기 문화미리보기" (1996), 시각과 언어
- 이찬웅, "주름, 라이프니츠와 바로크" (2004), 문학과지성사
- 최문규, "바로크와 알레고리-발터 벤야민의 언어이론", 뷔히너와 현대문학, 16, pp.124~150 (2001)
- 최정은, "보이지 않는 것과 말할 수 없는 것" (2000), 한길 아트
- 피종호, "예술형식의 상호매체성", 독일문학, 76(1), pp.248~268 (2000)
- 피종호, "영화와 회화의 상호매체성. 피터 그린어웨이의 영화와 바로크 회화", 카프카 연구, (21), pp.201~220 (2009), 한국카프카학회
- 피종호, "피터 그린어웨이의 <화가의 계약>과 네오바로크 또는 바로크 포스트모더니즘", 카프카 연구, (22), pp.313~333 (2009), 한국카프카학회
- Berthin-Scaillet, (A.), "Peter Greenaway: Fête et Défaite du corps" (1992), Dis Voir
- Buci-Glücksmann, Christine, "La Folie du voir. De l'esthétique baroque" (1986), Galilée
- Ciment, Michel, "Entretien avec Peter Greenaway", Positif, 320 (1987)
- Ciment, Michel, "La Configuration de l'art", Positif, 368 (1991)
- Ciuetat, (M.), "Le Grand Atelier de Peter Greenaway" (1998)
- Costantini-Cornède, "Pictorialité et pictorialisme dans Prospero’s Books de Peter Greenaway", Etudes anglaises, 55(2) (2002)
- Elliott,, "Peter Greenaway: Arhcitecture and Allegory" (1997)
- "Étude Cinématographique - Baroque et Cinéma 1-2" (1960), Printemps
- Eugénio d’Ors, "Du Baroque" (1968), Gallimard
- Gras, Vernon, "Peter Greenaway : Interviews (Conversations With Filmmakers Series)" (2000), University Press of Mississippi
- Greenaway, Peter, "Papers, Papiers" (1990), Dis Voir
- Greenaway, Peter, "A Zed & Two Noughts" (1998), Dis Voir
- Greenaway, Peter, "Prospero’s Books : A Film of Shakespeare’s The Tempest" (1991), Chatto and Windus
- Greenaway, Peter, "Prospero's Books", 123 min., couleur, 35 mm, ~ (1991)
- Greenaway, Peter, "A Zed & Two Noughts (ZOO)", 112 min., couleur, 35 mm, ~ (1986)
- Greenaway, Peter, "The Draughtsman's contract", 108 min., couleur, s16 mm (copy 35 mm), ~ (1982)
- Lawrence, Amy, "The Films of Peter Greenaway" (1997), Cambridge UP
- Moser, Walter, "‘Puissance baroque’ dans les nouveaux médias. A propos de Prospero’s Books de Peter Greenaway", Cinémas X, 2(3) (2000)
- Pascoe, David, "Peter Greenaway: Museums and Moving Images" (1997), Reaktion Books
- Pilard, Philippe, "Entretien avec Peter Greenaway, In Peter Greenaway" (1987), Dis Voir
- Rodgers, Marlene, "Prospero's Books-Word and Spectacle: An Interview with Peter Greenaway", Film Quarterly, 45(2) (1991)
- Spielmann, Yvonne, "Intermedia in Electronic Images", Leonardo, 34(1) (2001)
- "Vertigo (Special Issue: Projection Baroques)" (2000), Jean-Michel Place et Sueurs froides -Vertigo, Musées de Marseille