응시의 여성과 ‘기호’로서의 이미지 : 크라우스의 셔먼 <무제 영화 스틸>연구를 해체하며
Woman as the object of the ‘gaze’: De-constructing Krauss’ Sherman <Untitled Film Still> theory
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Cindy Sherman’s <Untitled Film Still> has been highly appreciated by art critics and historians as the land-mark piece contributing to the development of feminist art and of the discourse of the gaze. Most of scholars focus on the way in which woman has been represented; some discuss about the influence of mass media reproducing the image of women, and the meanings of masquerade. As opposed to them, Rosalind Krauss, basing herself upon theory of post-structuralism, suggests that Sherman’s <Film Still> de-constructs the typical readings on woman. Woman in <Film still> plays her role as the signifier; from that signifier, the signified is decoded. In this process, the myth, a concept defined by Roland Barthes, intervenes in the process, which makes the interpretation natural, but which deviates the viewer from the real meaning. Citing Barthes’ sign system, Krauss insists that not always the signifier matches the signified nor does the signified mean something. The sign consists of the continuous deployment of the signifier and the signified, never define one clear meaning. However, since Krauss’ theory leans on formality which are subjectively and partially selected from many elements of the sign, her readings are another myth from different perspective.
Abstract
Cindy Sherman’s <Untitled Film Still> has been highly appreciated by art critics and historians as the land-mark piece contributing to the development of feminist art and of the discourse of the gaze. Most of scholars focus on the way in which woman has been represented; some discuss about the influence of mass media reproducing the image of women, and the meanings of masquerade. As opposed to them, Rosalind Krauss, basing herself upon theory of post-structuralism, suggests that Sherman’s <Film Still> de-constructs the typical readings on woman. Woman in <Film still> plays her role as the signifier; from that signifier, the signified is decoded. In this process, the myth, a concept defined by Roland Barthes, intervenes in the process, which makes the interpretation natural, but which deviates the viewer from the real meaning. Citing Barthes’ sign system, Krauss insists that not always the signifier matches the signified nor does the signified mean something. The sign consists of the continuous deployment of the signifier and the signified, never define one clear meaning. However, since Krauss’ theory leans on formality which are subjectively and partially selected from many elements of the sign, her readings are another myth from different perspective.
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