포스트모더니즘 이후 한국 사진에 나타난 관객 중심의 이미지 커뮤니케이션 양태 연구

Abstract

This study aims to reveal the changing immanent forms of photographic communication by analyzing the audience-centered image communication expressions that began to appear in Korean photography in the late 1990s. This shift is evident in the photographs of landscapes "after" historical events in the psychological manner of distancing, emphasizing the viewer's reflections on them rather than the eventuality of the scene. Unlike photography, which typically highlights the visual meaning of the image imprinted within the frame, these photographs functioned as indicators of some enduring real-world phenomenon. These photographs naturally induced the viewer to look at the pictures with a priori associations, perceptions, and thoughts about reality rather than deciphering the image surface (shape). They later began to appear in works dealing with cultural and private memories. These cases imply that Korean photography is changing from a communication system that emphasizes the symbolic meaning of images to a system centered on the ontological perception and experience of the image recipient and that the viewer's experience of photography emphasizes the meta-experience of thinking about meaning rather than the textual perception of meaning. As these modes of photography and communication become the properties and ontological analogy of time-image as conceptualized by Deleuze, this study applies his perspective to case analysis.