문화적 순환의 원동력으로서의 이미지와 텍스트의 관계:영화의 자기반영성 연구
Image-Text Relation as a Dynamics of Cultural Circuit: A Study of Cinematic Self-Reflexivity
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While self-reflexivity in literature revolves around the issue of self-consciousness, cinematic reflexivity involves various issues like relations between message and medium, form and technology, image and text and etc. In a word, a self-reflexive film usually refers to a film that employs devices and technique which intentionally make visible that the film itself is an artificial construction. By analyzing self-reflexive elements in Jean-Luc Godard's 1963's film, <La Mepirs>(Contempt), this essay argues that the film deals with the role of cinematic representation as such, and covertly reveals a certain contemptuous attitude toward visual culture. Which, in turn, reflects the relationship between film and literature in specific and that of image and text in general. Through <Contempt>, we can recognize the social and cultural status of the commercial cinema and its representational strategy, that is, how cinema has located itself somewhere between culture and industry. Film history shows that cinema has adapted literature at a dubious time when they need both social respect from middle class spectators and provide a societal spectacle worthy of a certain amount of a price. In other words, in order to differentiate itself from other competitive media, especially from literature and television, cinema has defined itself as a high-class art, but strived to satisfy the low-class desire for visual pleasure at the same time. Such an contradictory self-determination of cinema, this paper contends, is based on underestimation of visual literacy and misunderstanding of image-text relations, of which meaning is constructed on the socio-cultural level. Hierarchization of verbal expression over other audial elements, as well as adaptation of literary works, does not necessarily imply the visual is inferior to verbal text (against the time-aged prejudice against visual literacy), nor can deny mass subjects as the origin of meanings. Rather, both image and text are expressive tools and devices which cinema have developed effectively to construct narrative reality. Therefore, it is not the purpose of this research to argue for image against either text or literature. Unequality between image and text, if any, is significant not only because it gives a chance for the visual image to be reevaluated as a potentiality providing a window for an unmediated reality. It is also because it exposes the inequality of representative power between visibility and invisibility in cultural circuit. Reconfiguration of image-text relation cannot but be another call for reconsideration of arts and the politics, in terms of visualizing what has been invisible. In this sense, this research proves that self-reflexivity in film can be an important means of a political action.
Abstract
While self-reflexivity in literature revolves around the issue of self-consciousness, cinematic reflexivity involves various issues like relations between message and medium, form and technology, image and text and etc. In a word, a self-reflexive film usually refers to a film that employs devices and technique which intentionally make visible that the film itself is an artificial construction. By analyzing self-reflexive elements in Jean-Luc Godard's 1963's film, <La Mepirs>(Contempt), this essay argues that the film deals with the role of cinematic representation as such, and covertly reveals a certain contemptuous attitude toward visual culture. Which, in turn, reflects the relationship between film and literature in specific and that of image and text in general. Through <Contempt>, we can recognize the social and cultural status of the commercial cinema and its representational strategy, that is, how cinema has located itself somewhere between culture and industry. Film history shows that cinema has adapted literature at a dubious time when they need both social respect from middle class spectators and provide a societal spectacle worthy of a certain amount of a price. In other words, in order to differentiate itself from other competitive media, especially from literature and television, cinema has defined itself as a high-class art, but strived to satisfy the low-class desire for visual pleasure at the same time. Such an contradictory self-determination of cinema, this paper contends, is based on underestimation of visual literacy and misunderstanding of image-text relations, of which meaning is constructed on the socio-cultural level. Hierarchization of verbal expression over other audial elements, as well as adaptation of literary works, does not necessarily imply the visual is inferior to verbal text (against the time-aged prejudice against visual literacy), nor can deny mass subjects as the origin of meanings. Rather, both image and text are expressive tools and devices which cinema have developed effectively to construct narrative reality. Therefore, it is not the purpose of this research to argue for image against either text or literature. Unequality between image and text, if any, is significant not only because it gives a chance for the visual image to be reevaluated as a potentiality providing a window for an unmediated reality. It is also because it exposes the inequality of representative power between visibility and invisibility in cultural circuit. Reconfiguration of image-text relation cannot but be another call for reconsideration of arts and the politics, in terms of visualizing what has been invisible. In this sense, this research proves that self-reflexivity in film can be an important means of a political action.
참고문헌 (40)
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- "<The Birth of a Nation>, Dir. D. W. Griffith", ~ (1915)
- "<A Daring Daylight Burglary>, Dir. Frank S. Mottershaw", ~ (1903)
- "<The Fall of Troy>, Dir. Giovanni Pastrone", ~ (1910)
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- "Interview with Godard"[URL]