찰스 실러와 폴 스트랜드의 『맨하타』(Manhatta)에 나타난 월트 휘트먼의 매나하타(Mannahatta) 비전
Walt Whitman’s Vision of Mannahatta in Charles Sheeler and Paul Strand’s Manhatta
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Whitman’s urban experiences in Manhattan are remarkably visualized by the name of ‘Mannahatta’ rather than Manhattan in his poetry. Particularly, Whitman’s recognition of Manhattan’s “shifting tableaux,” which is parallel to a “shot” in a movie camera, seems to imply a sign of modern film. Like a poet with a movie camera, Whitman’s eye sharply captures the “shifting tableaux” of Manhattan. His invariable enchantment for the rapidity and movement of the city inspires American avant-garde artists, who are predominantly called Precisionists, such as Charles Sheeler and Paul Strand. The two Precisionist artists have a keen insight into the images of Manhattan full of “rapidity of movement” in Whitman’s poetry. Their silent film Manhatta released in 1921 uses its intertitles borrowed from Whitman’s poems such as “City of Ships,” “Mannahatta,” “Song of the Exposition,” “Crossing Brooklyn Ferry,” etc. Sheeler and Strand aspire to represent the vision of Mannahatta captured through Whitman’s camera eye. Manhatta as a cross-media work of art incorporating the image and verbal text suggests Whitman’s vision with regard to Mannahatta full of “living poems” which the poet desires. Inspired by the poem “Mannahatta,” the film captures skyscrapers, automobiles, steamers, trains, teeming streets, and crowds using geometrically precise techniques like Precisionist photography. Above all, Precisionism featuring “modern, technical, objective, hard-edged―in short, precise” perspectives has a ‘doubleness’ which is distinguished from other contemporary avant-garde movements such as Futurism and Dadaism. It is important to note that Precisionist artists desire to achieve an aesthetic of the doubleness which goes toward the abstraction and angularity of “precise” style and toward the realistic, the natural, and the organic at the same time. In short, Manhatta epitomizes the aesthetics of the Precisionist doubleness which reflects Whitman’s vision of Mannahatta. Accordingly, transcending the gap of different ages and media, Manhatta can be regarded as the Precisionist collaborations of Whitman, Sheeler, and Strand.
Abstract
Whitman’s urban experiences in Manhattan are remarkably visualized by the name of ‘Mannahatta’ rather than Manhattan in his poetry. Particularly, Whitman’s recognition of Manhattan’s “shifting tableaux,” which is parallel to a “shot” in a movie camera, seems to imply a sign of modern film. Like a poet with a movie camera, Whitman’s eye sharply captures the “shifting tableaux” of Manhattan. His invariable enchantment for the rapidity and movement of the city inspires American avant-garde artists, who are predominantly called Precisionists, such as Charles Sheeler and Paul Strand. The two Precisionist artists have a keen insight into the images of Manhattan full of “rapidity of movement” in Whitman’s poetry. Their silent film Manhatta released in 1921 uses its intertitles borrowed from Whitman’s poems such as “City of Ships,” “Mannahatta,” “Song of the Exposition,” “Crossing Brooklyn Ferry,” etc. Sheeler and Strand aspire to represent the vision of Mannahatta captured through Whitman’s camera eye. Manhatta as a cross-media work of art incorporating the image and verbal text suggests Whitman’s vision with regard to Mannahatta full of “living poems” which the poet desires. Inspired by the poem “Mannahatta,” the film captures skyscrapers, automobiles, steamers, trains, teeming streets, and crowds using geometrically precise techniques like Precisionist photography. Above all, Precisionism featuring “modern, technical, objective, hard-edged―in short, precise” perspectives has a ‘doubleness’ which is distinguished from other contemporary avant-garde movements such as Futurism and Dadaism. It is important to note that Precisionist artists desire to achieve an aesthetic of the doubleness which goes toward the abstraction and angularity of “precise” style and toward the realistic, the natural, and the organic at the same time. In short, Manhatta epitomizes the aesthetics of the Precisionist doubleness which reflects Whitman’s vision of Mannahatta. Accordingly, transcending the gap of different ages and media, Manhatta can be regarded as the Precisionist collaborations of Whitman, Sheeler, and Strand.
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