아방가르드 영화《맨하타》에 나타난 스트레이트 사진의 메타-구조
On the Meta-Structure of Straight Photography Appeared in the Avant -Garde Film 《Manhatta》
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The film 《Manhatta》 (1921), produced by Paul Strand and Charles Sheeler, is considered the first avant-garde film in the U.S. Still, it has been relatively overlooked in the history of photography and art as well as in the history of film. However, 《Manhatta》 seems to be an important work for the history of photography to understand the initial stage of straight photography by Alfred Stieglitz, Strand, and Sheeler. It breaks down the perceptual center of perspectivism with a cubist view and sketches out the montage image of self-reflective perception. In this dialectic process of disintegration and reconstruction, it changes the eyes of the audience, who traditionally accept the camera’s view. Reflecting these characteristics, this study will analyze the relationship between visual singularity that appears in 《Manhatta》 and the initial works of Strand (and Sheeler) to reveal the meta-structure inherent in the 《Manhatta》. Through this analysis, it will clarify 《Manhatta》 is essentially the non-narrative film image reflecting the genealogy of a straight photography and the in-depth potentiality of it.
Abstract
The film 《Manhatta》 (1921), produced by Paul Strand and Charles Sheeler, is considered the first avant-garde film in the U.S. Still, it has been relatively overlooked in the history of photography and art as well as in the history of film. However, 《Manhatta》 seems to be an important work for the history of photography to understand the initial stage of straight photography by Alfred Stieglitz, Strand, and Sheeler. It breaks down the perceptual center of perspectivism with a cubist view and sketches out the montage image of self-reflective perception. In this dialectic process of disintegration and reconstruction, it changes the eyes of the audience, who traditionally accept the camera’s view. Reflecting these characteristics, this study will analyze the relationship between visual singularity that appears in 《Manhatta》 and the initial works of Strand (and Sheeler) to reveal the meta-structure inherent in the 《Manhatta》. Through this analysis, it will clarify 《Manhatta》 is essentially the non-narrative film image reflecting the genealogy of a straight photography and the in-depth potentiality of it.
참고문헌 (16)
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