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
Experimental Films have been interested in the ways which reality transforms into unique, essential cinematic vision. Thus we have to seek to how to change real world into unique cinematic world.
Many experimental filmmakers have changed the perceived vision into filmic vision throughout a lot of ways. Physical world which captured from camera lens transforms into cinematic world by recording on the celluloid. We can imagine that experimental film has developed throughout the ways which change representational imagery or studies on techniques. Historically, experimental filmmakers have shown an almost obsessive fascination with the relationship of the human eye to the camera eye. The eye is both the source of filmic vision and matrix for avant -garde film theories of perception.
One important transforrnatory aesthetic has been a reexamination of the meaning of the single film frame. Heretofore, it has been common to view film's most basic unit as the 'shot' which is composed of many frames of film photographed from the same camera position. A film was thus simply a series of shots linked together by editing.
By emphasizing the single frame, the filmmaker can intensify the viewing experience as more information can be squeezed into each single frame. It can also mean that the conventional illusion of motion is revealed.
Another major part of the aesthetics of transformation lies in the questioning conventional film technique. Experimental film's technique can be much more open and diffuse compared to conventional film, In one sense, there are no technical mistakes in an experimental film, In fact, technical mistakes and flaws may better reveal the fabric of filmic reality by exposing illusions that conventional technique attempts to hide. Instead of an absolute hierarchy of technical laws, each experimental film must be evaluated independently by its own use of technique
Experimental filmmakers have attempted to find out the interrelationship between camera and the person behind it. As the eye and camera lens become one, man and machine are united in a tenuous relationship. One critical feature of experimental film is the effort to make film a human, not a mechanical, form of art. In other words, filmic transformation means the desire of experimental filmmakers to change a mechanical means of perception into a human vision.
Many experimental filmmakers have changed the perceived vision into filmic vision throughout a lot of ways. Physical world which captured from camera lens transforms into cinematic world by recording on the celluloid. We can imagine that experimental film has developed throughout the ways which change representational imagery or studies on techniques. Historically, experimental filmmakers have shown an almost obsessive fascination with the relationship of the human eye to the camera eye. The eye is both the source of filmic vision and matrix for avant -garde film theories of perception.
One important transforrnatory aesthetic has been a reexamination of the meaning of the single film frame. Heretofore, it has been common to view film's most basic unit as the 'shot' which is composed of many frames of film photographed from the same camera position. A film was thus simply a series of shots linked together by editing.
By emphasizing the single frame, the filmmaker can intensify the viewing experience as more information can be squeezed into each single frame. It can also mean that the conventional illusion of motion is revealed.
Another major part of the aesthetics of transformation lies in the questioning conventional film technique. Experimental film's technique can be much more open and diffuse compared to conventional film, In one sense, there are no technical mistakes in an experimental film, In fact, technical mistakes and flaws may better reveal the fabric of filmic reality by exposing illusions that conventional technique attempts to hide. Instead of an absolute hierarchy of technical laws, each experimental film must be evaluated independently by its own use of technique
Experimental filmmakers have attempted to find out the interrelationship between camera and the person behind it. As the eye and camera lens become one, man and machine are united in a tenuous relationship. One critical feature of experimental film is the effort to make film a human, not a mechanical, form of art. In other words, filmic transformation means the desire of experimental filmmakers to change a mechanical means of perception into a human vision.
목차
1. 들어가는 말
2. 역사적인 배경
3. 영화의 시각적 변 형
4. 맺는 말
참고 문헌
Abstract
참고문헌 (0)
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