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커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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Representation aesthetics has been recognized with an essential theory of the art since Aristotle had adopted mimesis as a method of the art. Artists have endeavored for the transparent representation in every era. But a crack broke out in the myth of the representation with the invention of the photography and the cinema. The supreme transparency of the new media induced a new perspective for the representation aesthetics, which had dominated the art world.
The art derived from the representation stood on the crossroad of changing direction. Modernism aesthetics wanted to search for the self-referentiality in order to the replacement of the only principal that has been recognized for the universality. Cubism made up the chink of representation with relativity of the truth and Abstract Expressionism entered into the world of the image and Nonrepresentationalism instead of the mimesis. Surrealism also constructed his own empire with association of ideas and automatism beyond the logos that we could perceive. But the deconstructed representation by modernism and avant-garde still sustained its life in the cinema.
Many spectators in the theater sought for the stability through the transparency of the representation. Identification that the effect of the representation created was the only comfort to the people who were tired by the labor in the time of industry. Notwithstanding, critics blamed the identification for its stance of non-resistance and the absence of criticism. Classical narrative cinemas are considered as a special mechanism, which poured the dominant ideology into the spectators.
The sprit of the liberation and revolution in 1960's looked out for an alternative ideology. Brecht was an optimum artist from poststructuralist's point of view. They fixed their eyes on alienation effect of Brecht. Against aesthetics of Aristotle, the purposes of epic theatre was disjointing identification effect, which made for a special ideology and awakening the audience. For this reason Brecht's epic theatre was considered as the only method which could deconstruct the dominant ideology.
With the political and aesthetical backing, Jean-Luc Godard, another name of French Nouvelle Vague took advantaged of Brecht's theory. Godard exposed his production process and spoke to the spectators. He made some distance between cinema and them through those methods. Heterogeneous elements of creation and criticism were integrated in His cinema; also his self-reflexive Meta art theory opened a path for political cinema. now, a method of self-reflexive cinema aesthetics supplies a critical point of view for the artists who want to put into justification in their works.
The art derived from the representation stood on the crossroad of changing direction. Modernism aesthetics wanted to search for the self-referentiality in order to the replacement of the only principal that has been recognized for the universality. Cubism made up the chink of representation with relativity of the truth and Abstract Expressionism entered into the world of the image and Nonrepresentationalism instead of the mimesis. Surrealism also constructed his own empire with association of ideas and automatism beyond the logos that we could perceive. But the deconstructed representation by modernism and avant-garde still sustained its life in the cinema.
Many spectators in the theater sought for the stability through the transparency of the representation. Identification that the effect of the representation created was the only comfort to the people who were tired by the labor in the time of industry. Notwithstanding, critics blamed the identification for its stance of non-resistance and the absence of criticism. Classical narrative cinemas are considered as a special mechanism, which poured the dominant ideology into the spectators.
The sprit of the liberation and revolution in 1960's looked out for an alternative ideology. Brecht was an optimum artist from poststructuralist's point of view. They fixed their eyes on alienation effect of Brecht. Against aesthetics of Aristotle, the purposes of epic theatre was disjointing identification effect, which made for a special ideology and awakening the audience. For this reason Brecht's epic theatre was considered as the only method which could deconstruct the dominant ideology.
With the political and aesthetical backing, Jean-Luc Godard, another name of French Nouvelle Vague took advantaged of Brecht's theory. Godard exposed his production process and spoke to the spectators. He made some distance between cinema and them through those methods. Heterogeneous elements of creation and criticism were integrated in His cinema; also his self-reflexive Meta art theory opened a path for political cinema. now, a method of self-reflexive cinema aesthetics supplies a critical point of view for the artists who want to put into justification in their works.
목차
1. 들어가며
2. 자기 반영의 미적 동기
3. 자기 반영적 사유: 낯설게 하기의 전략
4. 다양한 자기 반영의 전략들
5. 나가며
참고 문헌
Abstract
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