앙드레 바쟁의 이데올로기와 리얼리즘에 대한 경계* -카를로스 아멜라(Carlos Armella)의 원테이크 단편영화 <대지와 빵 (Tierra y pan)>을 중심으로

Abstract

This study is aimed to examine realism and its boundary. To this end, this study examines the theoretical system of Andre Bazin first and then analyzes the application of the theory through ‘Tierra y pan’ of Carlos Armella. The theoretical system of Andre Bazin states that movie shall be based on the realism which recapitalizes the reality with the minimal distortion, but the reality includes the ambiguity that cannot be figured out experientially. Andre Bazin asserted that such ambiquity is the essence of movie through which the audience can achieve their autonomy in interpreting the meaning of movie. Andre Bazin who valued participation of audience expressed negative opinions against the formalism technique, in particular the montage. Andre Bazin who took warning against conventionalization and formal conversation of the movie subject stated that the long-take which expresses reality as it is shall be the closest form of the essence of movie. The long-take technique sustains the continuity in the time and space of a movie,through which the ambiguity of reality can be maintained. Thus, Andre Bazin regarded the long-take technique as the appropriate means for reality reproduction. Andre Bazin asserted that the technological innovation in the development of movie let the movie media get closer to realistic ideals. Although movie gets closer to the reality by reproducing the reality almost perfectly through technological innovation, movie is not actually reality in that the reality is reproduced through camera lens. Therefore, Andre Bazin mentioned that when we watch a movie, we are not watching the reality as it is but the one recreated in the movie. This is the double-sided aspect of movie, which can be found in “Tierra y pan” of Carlos Armella. Therefore “Tierra y pan” lies in the boundary between reality and the ambiguous realism to recreate the reality. Although “Tierra y pan” contains the sorrow of a family losing their child on its surface, it shows the history of exploitation and pain of entire Latin America as well as Mexico. The use of long-take technique in “Pierra y pan” not only enhances the reality of time and space but also draws attention to the pictorial nature of screen composition. In addition, the camera movement sustains the continuity of time and space, which increases the ambiguity of movie and consequently induces the participation of the audience. The last scene of the movie draws attention of the audience through tabloid composition, which overcomes the limit of long-take technique. This study examines the double-sided aspects of realism in movie through Andre Bazin's theoretical system and analyzes the problems of the reproduced reality in “Tierra y pan” of Carlos Armella; that is, movie is intended to reproduce the reality as it is but the reproduced reality through camera is a reality already reorganized through camera. Through this, this study discusses the boundary of realism in movie.