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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2004.12
- 수록면
- 201 - 229 (29page)
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초록· 키워드
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This work is an investigation into the relationship between cruelty and the image of the “Doppelganger” as the double of life similar to death : the desire of eternal life is a transference of the mechanism of defense angst death towards the image in visual arts, principally in video art and cinema.
Besides, I would like to extend the concept of cruelty to mental violence as internal death in the perspective of the esthetics of violence. I therefore wish to integrate in my investigation the feeling of despair, conflict, angst and madeness as cruelty and mental violence.
The image of the “Doppelganger”, it is true, is the double image that means death within life. This double image, the image of oneself as dead in real life, produces an “uncanny” effect, and works as a means to get over the angst produced by the prospect of death. In my work, I would like to deal with the double image as the equivalent of the image of the “Doppelganger” that symbolises the confusion of identity and schizophrenia as a sort of metaphor for death.
My investigation also uses the concept of the “sublime” and of “repetition” as a means to get over horror and awe. According to Lyotard, the sublime in post-modem art is a sort of breaking point and the expression of the invisible and inexplicable character of phenomen outside the sphere of human perceptions(Kant). It is here possible to understand the reasons of the intensive use of violent pictures in art and movies, notably in the last twenty years. This phenomen is amplifying and becoming world-wide. We need to examine them with precision in the analysis of the relationship between cruelty and visual images.
In that respect, I analysed two artists in the way they use the double image as a sign of the double identity which crosses the boundary between life and death, thus widening the field of human experience. I chose these artists in order to go deeper into the investigation of subjectivity : a video artist, Douglas Gordon, whose works explore the themes of the double, madness, the relationship between religious beliefs and guilt, which metaphorise repression in the symbolic sphere, and a movie director, Peter Greenaway, whose works deal with the theme of the double which widens the identity of the character in its multiplications.
More precisely, I analysed D.Gordono°Øs works in two respects. First, I dealt with the idea of the disappearance of the author, which entails using several previous authors, resulting in the concealment of the author himself. Then, I dealt with the movement from language to image, which gives more prominence to the world of imagination and of pulsions. I put the emphasis on the image of the “chiasmus°± in the structure of “repetition” and on “slow motion” as a sort of close-up shot in time whose significance is death.
I also dealt with two films by P.Greenaway because of his concern with the idea of multiplication of identity. One film is about the breaking apart of twin brothers, which is evocative of the myth of the androgyn in modem terms. The other deals with the reproduction of the image of oneself. The angst caused by the absence of the self may duplicate its existence in its representations and may eventually lead one to madness through the proliferation of the images of oneself.
In my investigation, I would like to define the significance of the image of the “doppelganger”, the image of death, and determine how the effect of intensification of oneself is achieved. I would also like to examine the power of angst that amplifies the existence of one°Øs self through its multiplication, and the value of cruelty in visual arts.
Besides, I would like to extend the concept of cruelty to mental violence as internal death in the perspective of the esthetics of violence. I therefore wish to integrate in my investigation the feeling of despair, conflict, angst and madeness as cruelty and mental violence.
The image of the “Doppelganger”, it is true, is the double image that means death within life. This double image, the image of oneself as dead in real life, produces an “uncanny” effect, and works as a means to get over the angst produced by the prospect of death. In my work, I would like to deal with the double image as the equivalent of the image of the “Doppelganger” that symbolises the confusion of identity and schizophrenia as a sort of metaphor for death.
My investigation also uses the concept of the “sublime” and of “repetition” as a means to get over horror and awe. According to Lyotard, the sublime in post-modem art is a sort of breaking point and the expression of the invisible and inexplicable character of phenomen outside the sphere of human perceptions(Kant). It is here possible to understand the reasons of the intensive use of violent pictures in art and movies, notably in the last twenty years. This phenomen is amplifying and becoming world-wide. We need to examine them with precision in the analysis of the relationship between cruelty and visual images.
In that respect, I analysed two artists in the way they use the double image as a sign of the double identity which crosses the boundary between life and death, thus widening the field of human experience. I chose these artists in order to go deeper into the investigation of subjectivity : a video artist, Douglas Gordon, whose works explore the themes of the double, madness, the relationship between religious beliefs and guilt, which metaphorise repression in the symbolic sphere, and a movie director, Peter Greenaway, whose works deal with the theme of the double which widens the identity of the character in its multiplications.
More precisely, I analysed D.Gordono°Øs works in two respects. First, I dealt with the idea of the disappearance of the author, which entails using several previous authors, resulting in the concealment of the author himself. Then, I dealt with the movement from language to image, which gives more prominence to the world of imagination and of pulsions. I put the emphasis on the image of the “chiasmus°± in the structure of “repetition” and on “slow motion” as a sort of close-up shot in time whose significance is death.
I also dealt with two films by P.Greenaway because of his concern with the idea of multiplication of identity. One film is about the breaking apart of twin brothers, which is evocative of the myth of the androgyn in modem terms. The other deals with the reproduction of the image of oneself. The angst caused by the absence of the self may duplicate its existence in its representations and may eventually lead one to madness through the proliferation of the images of oneself.
In my investigation, I would like to define the significance of the image of the “doppelganger”, the image of death, and determine how the effect of intensification of oneself is achieved. I would also like to examine the power of angst that amplifies the existence of one°Øs self through its multiplication, and the value of cruelty in visual arts.
목차
Ⅰ. 서론
Ⅱ. 잔혹성과 도플갱어 이미지
Ⅲ. 숭고와 반복 : 충격에서 외상으로
Ⅳ. 분열(Madness)
Ⅴ. 결론
참고문헌
Abstract
「도플갱어(Doppelganger) 이미지의 자기 증식성」에 대한 질의 (전영백)
전영백 선생님의 질의에 대한 답변 (김수현)
참고문헌 (0)
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