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.
초록· 키워드
오류제보하기
If film must be thought of in terms of time and space, one problematic is following. How does time and space work in film? This article is about that question, and is divided into two part. Firstly, that question is approached through the relation of 'mimesis' and 'diegesis', Mimesis and diegesis are two traditions of western aesthetics. While showing serves to mimesis, telling serves to diegesis. And time of film is structured by the dialectic of mimesis and diegesis.
Before to interrogate the relationship of mimesis and diegesis, it is necessary to study level of time. Time of film is constitute of three levels. The first is frame, and the second is shot, finally the third is editing. Each has specific temporality. Frame has non-time ness and shot has presentness. Most importantly editing produces narrative time.
Narrative time is the dominant and based upon identity, the sameness, and stasis. thus the function of narrative time is oppressive. Narrative time is mainly found in classical Hollywood cinema. Classical Hollywood cinema fix flux of time and thus the time of film is organized in narrative.
And secondly, this article introduces the concept of excessive time. Excessve time is key term for working of time of film. Because excessive time can threaten narrative time, narrative time is disrupted by excessive time. Excessive time is the disunifying power of movement in cinematic discourse. As a result, excessive time is defined by unleashing virtuality as the power of disunity. For example, still photography is excessive time, and also Antonioni's dead time is too. Tarkovsky and Alain Resnais used the excessive time very specifically.
The time of film is result of controlling the excessive time. But excessive time mediates between showing and telling. Showing is based on monstration(presentness) and telling(narrative time) is based on narration. Showing and telling are contradictory, but synthesized by the working of excessive time. In the process, time of film can position desire of spectator. Spectator's desire is channelled by flow of time of film.
Now to conclude, time of film is product of dialectic between showing and telling. And in this process, excessive time have a key position. Because mediation between two is only possible by the excessive time. thus excessive time is ground of filmic time.
Before to interrogate the relationship of mimesis and diegesis, it is necessary to study level of time. Time of film is constitute of three levels. The first is frame, and the second is shot, finally the third is editing. Each has specific temporality. Frame has non-time ness and shot has presentness. Most importantly editing produces narrative time.
Narrative time is the dominant and based upon identity, the sameness, and stasis. thus the function of narrative time is oppressive. Narrative time is mainly found in classical Hollywood cinema. Classical Hollywood cinema fix flux of time and thus the time of film is organized in narrative.
And secondly, this article introduces the concept of excessive time. Excessve time is key term for working of time of film. Because excessive time can threaten narrative time, narrative time is disrupted by excessive time. Excessive time is the disunifying power of movement in cinematic discourse. As a result, excessive time is defined by unleashing virtuality as the power of disunity. For example, still photography is excessive time, and also Antonioni's dead time is too. Tarkovsky and Alain Resnais used the excessive time very specifically.
The time of film is result of controlling the excessive time. But excessive time mediates between showing and telling. Showing is based on monstration(presentness) and telling(narrative time) is based on narration. Showing and telling are contradictory, but synthesized by the working of excessive time. In the process, time of film can position desire of spectator. Spectator's desire is channelled by flow of time of film.
Now to conclude, time of film is product of dialectic between showing and telling. And in this process, excessive time have a key position. Because mediation between two is only possible by the excessive time. thus excessive time is ground of filmic time.
목차
Ⅰ. 들어가며
Ⅱ. 영화적 시간의 몇 가지 층위
Ⅲ. 과잉된 시간: 개념의 정의
Ⅳ. 과잉된 시간: 사례들
Ⅴ. 보여주기와 말하기의 길항
Ⅵ. 욕망의 시간
Ⅶ. 마치면서
참고문헌
ABSTRACT
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
Good Time
International Invitation Exhibition of Color Works
2019 .12
-
May this time be different
한국디자인학회 국제초대전도록
2018 .06
-
Time
한국디자인학회 국제초대전도록
2015 .05
-
영화 <청춘의 십자로>의 스타일 연구
현대영화연구
2009 .01
-
실험영화의 시간 미학 연구
영화연구
2011 .09
-
신화적 모티브의 영화적 재구성에 관한 연구 : 영화 <그을린 사랑>의 내러티브 분석을 중심으로
영화연구
2014 .09
-
상대적 시간관에 따른 변화된 사진 표현방식 연구
AURA
2013 .01
-
심화영 ‘승무’의 춤사위 분석을 통한 미적 특성 고찰
대한무용학회논문집
2009 .01
-
키워드 네트워크를 이용한 노인의 우울과 운동관련 연구 동향 분석
한국체육과학회지
2020 .10
-
유도선수의 단기간 과다 체중감량이 경기 후 신체조성과 면역기능에 미치는 영향
한국체육과학회지
2011 .08
-
일제시기 한국영화 스타일 연구 : 발굴된 극영화들을 중심으로
영상기술연구
2012 .06
-
MIMESIS
한국디자인학회 국제초대전도록
2018 .11
-
공간의 초두효과 특성 도출을 위한 주시시간특성에 관한 연구 : 공공공간의 로비를 대상으로
한국실내디자인학회 논문집
2012 .12
-
캐릭터 관계 기반의 비주얼스토리텔링 공간 분석 : 영화 아바타를 중심으로
영상문화콘텐츠연구
2011 .04
-
유도선수의 단기간 과다 체중감량과 경기 후 전해질, 효소활성도에 미치는 영향
한국체육과학회지
2011 .02
이 논문의 저자 정보
이 논문과 함께 이용한 논문
영화 사운드디자인의 내러티브 기능 연구
이동환
한국콘텐츠학회논문지
2013
.12
2012년, 상호텍스트성의 어떤 경향 : 영화, 〈아티스트〉, 〈휴고〉, 〈미드나잇 인 파리〉를 중심으로
윤성은
영화연구
2013
.03
발리우드 영화의 전형으로서 <세 얼간이> 연출 분석
이정국
영화연구
2012
.09
새로운 전통의 구축 : 발리우드 영화〈모합바뗑〉과〈세 얼간이〉의 시각문화를 중심으로
구하원
,
이춘호
인도연구
2012
.11
한국영화의 세계성과 지역성, 또는 민족영화의 좌표 : 1950년대 영화 비평담론을 중심으로
이순진
동악어문학
2012
.08
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2009-600-011289737