파편들의 리듬 - 張律 영화의 장소(place) 문제

Abstract

Zhang Lu’s images work as a medium for rhythms of others, enabling the others to talk to us. His movies question those possessed by complex layers of discourses that are not free from imagined geography of the 20th century-like nation-states by exposing voice and gesture of others in dispersed history. Is there anything other than time of nation-states straightly running forward, space for humans recognized as subjects of the nation, and modernity accelerating in this time and space that possess each of their orbits for movement in this world? Using images, Zhang Lu’s movies explore how to mediate displaced life that consistently fails to be rooted in its own place of life inside and outside the orbit and its rhythms. Zhang Lu identifies the rhythms of such fragments as Xijie (detail) and an emotional issue ever remaining alive throughout time. His ‘Xijie’ aims to explore specific social life experiences and memories facing uncertainties. There is a concerned consideration of the issue to catch Xijie and emotions of various layers of time always stemming and growing from the lowest part of a society. This is not unrelated to his sense of time and place. Zhang Lu enters deep into a place, feels the rhythms and emotions using five senses, and tries to mediate them as images of a certain quality and sound characteristic. This is somewhat different from the placeness of cameras of imperialists who believed in their being objective and scientific. Their places are like a flat and empty space on the map, waiting to be explored and conquered by external forces. However, space is not an empty space for Zhang Lu. In this place, there are rhythms that are flowing. The rhythms standing for strength of repetition and hardness created as a body (life) work in harmony with energy in time and space. Zhang Lu’s attitudes to time and space are distanced a little from the frequently discussed modern time and space, providing a historical narration based on linear time and empty space. Sensing Xijie and emotions of time are also an analysis of various rhythms flowing while crossing the world. Zhang Lu locates his camera in full sincerity to shoot these rhythms. This camera becomes available when you meet time and space with a genuine sense of placeness or an attitude of your mind to open your senses to everything that a space shows and their significance and to try to understand and respect the significance. As for Kino eye, it certainly originates from the works of eyes but does not incompletely depend solely on eyes. Opening your mind to significance of a place works through five-sense and whole-body experiences and senses and this occurs only when Xijie and emotions of time can be caught. What is needed is one’s senses through a ‘whole body’, rather than dependence on eyes only. This is not about a visible, outer and virtual present that appears when you depend on eyes only. It is about how to explore the presence that moves beyond, or what appears visually as warmth, communication and pulsation. The author of this paper tried to analyze specifically the issues of rhythms and others pertaining to fragments of Grain in Ear, Yili and Chongqing based on the attitude of time and place of Zhang Lu. Grain in Ear was analyzed based on the subjects like “Soonhee’s old and worn house” and “Soonhee’s scaling”. Yili and Chongqing were analyzed through “time and space of urban fragments” and “oblivion of death and angels". Various rhythms that the fragments show in time and space are not only those belonging to people who are weak and good. The images also inexorably reflects on the properties of force and banality of evil of this world.