영상이미지에 나타나는 왜상(歪像)에 관한 연구

Abstract

The theorization of the artistic representation of anamorphosis is rather recent phenomenon. Of all contemporary theories that can help us understand how viewers make meaning, psychoanalytic theory has addressed most directly the pleasure we derive from images, and the relationship between our desires and our visual world. One of the fundamental elements of psychoanalysis lies in its demonstration of the existence and mode of operation of unconscious mental processes. According to psychoanalytic theory, in order to function in our lives, we actively repress various desires, fears, memories, and fantasies. Hence, beneath our conscious, daily social interaction there exists a dynamic, active realm of forces of desire that is inaccessible to our rational and logical selves. The unconscious often motivates us in ways which we are unaware of, and, according to psychoanalysis, is active in our dreams.One of the primary elements of the concept of the gaze is a kind of split that viewers experience in looking at images. This is related to Lacan's notion of the alienation that results from the split between seeing the images as oneself and also as an ideal - as both the same and not the same as oneself. This can also be understood as the split that results from being simultaneously the surveyor and the surveyed, in looking at oneself through the implied gaze of others. The split self of the viewer is always connected to the idea that the gaze is omnipresent as an anamorphosis. In this article, I have focused on how to make meaning of the images, and theories about the anamorphosis as the signifier of a trauma in visual communications.