동시대 중국영화의 이미지구성과 서사
Image Composition and Naratives of Contemporary Chinese Cinema
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This article deals with the 6th Generation movies which characterizess contemporanéité. Contemporanéité movies in the article mean the movies with modernité which realizes 'Time-image' by Gilles Deleuze. These movies are special in that they are not based on the literal narratives, but on the superficial flow of images. Therefore, in the movies, image itself becomes narrative. First, static images like pictures and paintings are inserted in the movies, the moving images. Images still and moving mixed with memories of the viewers create relativity to the audience. The border between still and moving images is disappeared in a scene and make montage. Second, moving images kept in the moving media like video can create still-picture effect. This form of record locks up images of live-shot performance art as a history. Third, there is also a mirror effect when other images are inserted in the movies. These contains Jacques Lacan's complex mirror images as well as Gilles Deleuze's infinite reproduction of self-image. Three types of movies provide make viewers experience the way of thoughts not through the narrative but through narrative-turned-image itself. In a nutshell, inserting images like pictures, paintings or other media in the movies is a very post-modern and a new narrative-creating form of movie making in China. These images are floated with the confused pictures of contemporary China.
Abstract
This article deals with the 6th Generation movies which characterizess contemporanéité. Contemporanéité movies in the article mean the movies with modernité which realizes 'Time-image' by Gilles Deleuze. These movies are special in that they are not based on the literal narratives, but on the superficial flow of images. Therefore, in the movies, image itself becomes narrative. First, static images like pictures and paintings are inserted in the movies, the moving images. Images still and moving mixed with memories of the viewers create relativity to the audience. The border between still and moving images is disappeared in a scene and make montage. Second, moving images kept in the moving media like video can create still-picture effect. This form of record locks up images of live-shot performance art as a history. Third, there is also a mirror effect when other images are inserted in the movies. These contains Jacques Lacan's complex mirror images as well as Gilles Deleuze's infinite reproduction of self-image. Three types of movies provide make viewers experience the way of thoughts not through the narrative but through narrative-turned-image itself. In a nutshell, inserting images like pictures, paintings or other media in the movies is a very post-modern and a new narrative-creating form of movie making in China. These images are floated with the confused pictures of contemporary China.
참고문헌 (18)
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