제이 로젠블랏의 파운드 푸티지 영화 연구

Abstract

Jay Rosenblatt is one of the greatest experimental filmmakers, very well known and admired in the art world these days. His aesthetics of cinema is more concerned with the forms of poetry and essay. The relation of between imagery of found footage with sound including narration and music is more consonant than explanation. It not only makes for more meaning and stimulates associations rather than designating directives. Making films with found footage is a peculiar process. It leads to a more poetic and metaphoric working process. In many cases, recontextualization of existing footage has radical transformative qualities and shows aesthetics of collage montage. He continues to explore the complex features about the encounter, socialism, loss, and alienation. Rosenblatt didn’t want to offer a final solution, but he always explored the deep contemplation of these issues. The films of Jay Rosenblatt have the form of collage, full of irony and humor. They confuse the audience with ambiguities and juxtapositions within film, and between films. He used imagery from different sources and sounds including narration and music together to unify the works, resulting in solid and distinct relationships. The collage among imagery, sounds, and subjects made his works integrate the analysis of serious politics that respond to alternative ethical issues by creating provocative and imaginative within artistic experimental films.