흐릿한 이미지의 담론 분석: 90년대 이후의 현대사진을 중심으로

Abstract

Abstract This study has investigated the tendency related to the blurred image in the history of photography and then analyzed the photographic discourse, focusing on the photographic works which shows the blurred image explosively increased after 90's. This kind of photographic image is not totally new but it has existed continuously in the stream of photographic history. Of course, the use of the blurred image in the early times of history of photography is totally different from the recent tendency. The blur as absence of material in the reality becomes an objective and existing material. If clear photograph threatens to construct the world as unachievable object,blurred photograph makes it possible to establish sensitive intimacy as the expression of emotion which accompany the all perceptionand appreciate the flow of time and compose the interpretation on it, functioning as a bridge between us and admitting our desire to feel continuous with it. If blurred photograph referred to real time and space, it doesn't make us so painful but this photograph which appears eliminated of the human trace causes insomnia of dissolution. This is why blurred photograph has been isolated from the public for a long time. Sometime the blur evokes the ambiguous emergence of another world which exists itself and extended to margins. This kind of blur does not stay as the formal effect but as a literary evocation, even though it is weak is related to the reflection on the objective nature. The blur in reality is the absence of the object and as a temporary and untouchable trace, it is related to the illusion and question the representation and reveals the tension between the real and the illusion. In this way, blurred photograph which reveals the changed perception of materiality in according to time shows the division between the past and the real, by exploding the real and the memory and recomposing the uncertain relationship. This study has analyzed the effect of blurred photograph as the development of photographic material, continuation of special time and space, blur focused on the reality and reconstructionof the memory. Actually, each effect is not totally isolated but is interconnected. The preference for blurred image can be the indirect way of convincing the right of emotion and sensation over the idea. The blurred photograph evokes the emotion and sensation as the primary quality of life. By analysis, we can conclude that the blur is not the problem of visuality but that of discourse. And blurred photograph as a text is not fixed to the artist's intention or a fixed meaning but contributes to the formation of the diverse photographic discourses and at the same time affords to the possibility to think about the work by giving a new position that makes the spectator reflect their own experienceordinary or artistic.