지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 1998.12
- 수록면
- 115 - 136 (22page)
이용수
초록· 키워드
오류제보하기
This thesis is a study on the aspects and implications of feminist video art. It seeks to examine how feminism engages in, and operates on, the genre of video art to effect a distinctly feminist practice. The intervention of feminism in video signifies an encounter between the two major modes of postmodem discourse, video and feminism. While video may be a characteristically postmodem medium, in artistic practice, it tends to be formalizes its properties. This thesis advances the argument that it is the intervention of feminism in the contradictory condition of video art - a postmodem medium which is nevertheless amenable to the formalist logic of modernism - which enables video’s transition toward a more content-directed, socially-conscious postmodem art form. This is the primary significance of the encounter between video art and feminism, and of feminist video.
The basic proposition of this thesis is the distinction between ‘aesthetic video’ and ‘political video’. Aesthetic video is related to the work that formalizes the medium’s property, while political video uses video as an information and communication tool. By the same token, feminist video can be distinguished into two categories of ‘aesthetic feminist video’ and ‘political feminist video’. The former, based on essentialist feminism, relies on aesthetics of narcissism, and the latter, derived from socialist feminism, proclaims anti/trans-narcissism.
The first generation of feminist video (late 60’s - early 80’s) was grounded on the dichotomy of ‘aesthetics/politics’. On the other hand, the second generation (late 80’s 90’s) evolved from the union of the two elements or the collapse of the dichotomy. While the first generation artists were mostly concerned with the issue of narcissism, the next generation became more focused on the sexuality and representation, but also the reinterpretation of the body extending sexual politics into body politics. It provides a powerful breakthrough for today’s feminism which attempts to deconstruct phallocentric hegemony by including ‘man trouble’ in issues of feminism. Thus, feminism video started with the conflict between aesthetics/politics, essentialism/ socialism, and narcissism/anti-narcissism, and now has proceeded into the stage of deconstructing such oppositions. This indicates the shift from narcissism to the grotesque, which is the point that this thesis attempts to clarify.
In this regard, this thesis brings out narcissism and the grotesque as the main characteristics of feminist video. Narcissism is the typical aesthetics of early video art established by Rosalind Krauss and at the same time feminine aesthetics as being a frequent motif of feminist art in general. If narcissism is considered as a first generation issue, then the grotesque is referred to the second generation. The grotesque, characterized by 90’s video, performance, and body art, is identified with the feminine grotesque, and thus becomes the focal point of today’s feminist art debate. Narcissism and the grotesque are not new concepts. However, this thesis attempts to extend the two concepts by distinguishing narcissism as video aesthetics and narcissism as feminine aesthetics, and connecting the grotesque to the ‘cyborg’, respectively. In short, this thesis induces narcissism and the grotesque as the main issues of feminist video and makes an effort to extend the two concepts.
At a time when women video artists are more active than ever, it seems necessary to undertake an assessment of the significance of feminist video art. It is hoped that this study will be followed by further research by others on this important subject, and also that it will lead to a new understanding of feminism and a re-examination of video art, which is now widely accepted as a genre of contemporary art. Lastly, due to practical considerations, the scope of the present research has been limited, regrettably, to only American artists and their works.
The basic proposition of this thesis is the distinction between ‘aesthetic video’ and ‘political video’. Aesthetic video is related to the work that formalizes the medium’s property, while political video uses video as an information and communication tool. By the same token, feminist video can be distinguished into two categories of ‘aesthetic feminist video’ and ‘political feminist video’. The former, based on essentialist feminism, relies on aesthetics of narcissism, and the latter, derived from socialist feminism, proclaims anti/trans-narcissism.
The first generation of feminist video (late 60’s - early 80’s) was grounded on the dichotomy of ‘aesthetics/politics’. On the other hand, the second generation (late 80’s 90’s) evolved from the union of the two elements or the collapse of the dichotomy. While the first generation artists were mostly concerned with the issue of narcissism, the next generation became more focused on the sexuality and representation, but also the reinterpretation of the body extending sexual politics into body politics. It provides a powerful breakthrough for today’s feminism which attempts to deconstruct phallocentric hegemony by including ‘man trouble’ in issues of feminism. Thus, feminism video started with the conflict between aesthetics/politics, essentialism/ socialism, and narcissism/anti-narcissism, and now has proceeded into the stage of deconstructing such oppositions. This indicates the shift from narcissism to the grotesque, which is the point that this thesis attempts to clarify.
In this regard, this thesis brings out narcissism and the grotesque as the main characteristics of feminist video. Narcissism is the typical aesthetics of early video art established by Rosalind Krauss and at the same time feminine aesthetics as being a frequent motif of feminist art in general. If narcissism is considered as a first generation issue, then the grotesque is referred to the second generation. The grotesque, characterized by 90’s video, performance, and body art, is identified with the feminine grotesque, and thus becomes the focal point of today’s feminist art debate. Narcissism and the grotesque are not new concepts. However, this thesis attempts to extend the two concepts by distinguishing narcissism as video aesthetics and narcissism as feminine aesthetics, and connecting the grotesque to the ‘cyborg’, respectively. In short, this thesis induces narcissism and the grotesque as the main issues of feminist video and makes an effort to extend the two concepts.
At a time when women video artists are more active than ever, it seems necessary to undertake an assessment of the significance of feminist video art. It is hoped that this study will be followed by further research by others on this important subject, and also that it will lead to a new understanding of feminism and a re-examination of video art, which is now widely accepted as a genre of contemporary art. Lastly, due to practical considerations, the scope of the present research has been limited, regrettably, to only American artists and their works.
목차
1. 서언
2. 제1세대 나르시즘 비디오
3. 제2세대 그로테스크 비디오
4. 결어
참고문헌
Abstract
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
자기애 성향에 따른 집단별 외모관심도 및 미용행동에 관한 연구
한국의류산업학회지
2009 .01
-
자기애성향 집단별 신체적 매력성 자아지각이 미용추구혜택과 미용관리행동에 미치는 영향
한국인체미용예술학회지
2010 .01
-
자기애 성향과 외모관심도, 미용행동 간의 상관관계 분석
한국인체미용예술학회지
2009 .01
-
여대생의 자기애에 따른 의복추구혜택과 화장추구혜택에 관한 연구
한국의상디자인학회지
2015 .09
-
내현적 자기애와 외모관리행동의 관계
한국화장품미용학회지
2019 .09
-
남녀대학생의 나르시시즘, 지각된 신체중요도, 외모자신감 및 외모관리행동에 관한 연구
한국인체미용예술학회지
2018 .01
-
나르시시즘 캐릭터에 대한 이해와 성찰 : 나르시시즘(Narcissism)으로 구축된 우디 앨런의 <블루 재스민> 인물 탐구
영상기술연구
2016 .06
-
플러스 사이즈 소비자들이 인식하는 자기애 성향과 외모 관련 의복행동의 관계에서 비만 스트레스의 매개효과에 관한 연구
한국의류학회지
2016 .01
-
외현적 자기애와 SNS중독 경향성의 관계에서 사회적 건강상태의 조절효과 검증 : 체육계열 중심으로
한국체육과학회지
2015 .10
-
소비자의 나르시시즘성향과 의류제품추구혜택
한국의류산업학회지
2010 .01
-
비디오 예술에서의 페미니즘 양상
현대미술사연구
1997 .02
-
한국 현대미술사에서 페미니즘 연구사
미술사논단
2020 .06
-
텍스트와 실천 사이에서 : 1980년대 이후 한국에서의 페미니즘 미술 이론의 수용, 전개, 그리고 전망
한국근현대미술사학
2014 .06
-
미국의 페미니스트 미술과 이론
서양미술사학회논문집
1990 .12
-
1980년대 한국의 ‘여성주의’ 미술 : 「우리 봇물을 트자」전을 중심으로
현대미술사연구
2008 .06
-
고교 운동선수와 일반학생의 내현적 자기애와 분노표현양식 및 공격성의 구조적 관계
한국체육과학회지
2011 .06
-
매체미학적 관점에서 본 비디오아트의 현실매개 연구
한국디자인학회 국제학술대회 논문집
2012 .05
-
‘문화 번역’의 맥락에서 본 한국 미디어 설치 : 제1세대 비디오 작가 박현기를 중심으로
현대미술사연구
2014 .12
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2009-609-017289614