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
Reflexivity is the typical esthetic style of Gog Sa's texts. In this thesis, Gog Sa's texts are analysed into mise-en abyme, performance and intertextuality as their strategies for reflexivity.
Firstly, mise-en abyme forms the abyss of meanings. One of the mise-en abyme strategies of Gog Sa is to present narrative ambiguousness and magnify their messages by reiteration of scenes. The examples of their major texts are 〈Time Consciousness〉 and 〈Capitalist Manifesto〉. 〈Time Consciousness〉 expresses philosophical subjects of Husserl's theory of time and Deleuze's difference and repetition. 〈Capitalist Manifesto〉 makes it possible to create a decalcomania of images by mise-en abyme. Secondly, there is mise-en abyme expressed through another movie in a movie. Major pieces falling in this category are 〈Principle of Party Politics〉 and 〈Self-contradiction〉. Thirdly, Gog Sa makes use of another frame in a frame. A scene of eating an apple from 〈Anti-dialectic〉 forms a deep abyss of images and is gathered into a frame in a frame. Mise-en abyme is a distinguishing factor to guarantee Gog Sa's esthetic style and signified and the repetitive use of mise-en abyme clarify their authorial style.
Second of all, there are performances reappeared in 〈Principle of Party Politics〉 and 〈Self-contradiction〉. Through shocking acts, theatrical performances re-enact an existence more realistic than a real life. Gog Sa's cinematic performances are divided into the two categories of inserting performances into a film and making a film itself become a performance. In 〈Self-contradiction〉, we can see an active intervention of performances in a movie. Turning a film into a performance can be found in 〈Principle of Party Politics〉. Performances successfully acquire the aggression of the political avant-garde movies by contingency and immediateness.
Thirdly, there is a discussion of intertextuality. Gog Sa's strategy of intertextuality spreads into 'the aggressive relations between text and text, subject and subject, and text and sociocultural influences' rather than the passive 'quotations and influences among pieces.' Gog Sa's texts communicate, quote and converse among texts including existing masterpieces, classics and famous paintings like Magritte. Gog Sa's movies as hyper text are based on various hypo texts from Nietzche's works, Magritte's pieces to Marx's 〈The Communist Manifesto〉. Eventually Gog Sa makes their texts interchanges with various hypo texts and pursues the mosaic of various texts by passing through their own preexisting films as hyper text. Gog Sa is an author to create hyper text in a form of film based on philosophical masterpieces as hypo text. The communication between hyper text and hypo text gives Gog Sa's ambiguous text lucidity and creates possibilities for various interpretations.
Firstly, mise-en abyme forms the abyss of meanings. One of the mise-en abyme strategies of Gog Sa is to present narrative ambiguousness and magnify their messages by reiteration of scenes. The examples of their major texts are 〈Time Consciousness〉 and 〈Capitalist Manifesto〉. 〈Time Consciousness〉 expresses philosophical subjects of Husserl's theory of time and Deleuze's difference and repetition. 〈Capitalist Manifesto〉 makes it possible to create a decalcomania of images by mise-en abyme. Secondly, there is mise-en abyme expressed through another movie in a movie. Major pieces falling in this category are 〈Principle of Party Politics〉 and 〈Self-contradiction〉. Thirdly, Gog Sa makes use of another frame in a frame. A scene of eating an apple from 〈Anti-dialectic〉 forms a deep abyss of images and is gathered into a frame in a frame. Mise-en abyme is a distinguishing factor to guarantee Gog Sa's esthetic style and signified and the repetitive use of mise-en abyme clarify their authorial style.
Second of all, there are performances reappeared in 〈Principle of Party Politics〉 and 〈Self-contradiction〉. Through shocking acts, theatrical performances re-enact an existence more realistic than a real life. Gog Sa's cinematic performances are divided into the two categories of inserting performances into a film and making a film itself become a performance. In 〈Self-contradiction〉, we can see an active intervention of performances in a movie. Turning a film into a performance can be found in 〈Principle of Party Politics〉. Performances successfully acquire the aggression of the political avant-garde movies by contingency and immediateness.
Thirdly, there is a discussion of intertextuality. Gog Sa's strategy of intertextuality spreads into 'the aggressive relations between text and text, subject and subject, and text and sociocultural influences' rather than the passive 'quotations and influences among pieces.' Gog Sa's texts communicate, quote and converse among texts including existing masterpieces, classics and famous paintings like Magritte. Gog Sa's movies as hyper text are based on various hypo texts from Nietzche's works, Magritte's pieces to Marx's 〈The Communist Manifesto〉. Eventually Gog Sa makes their texts interchanges with various hypo texts and pursues the mosaic of various texts by passing through their own preexisting films as hyper text. Gog Sa is an author to create hyper text in a form of film based on philosophical masterpieces as hypo text. The communication between hyper text and hypo text gives Gog Sa's ambiguous text lucidity and creates possibilities for various interpretations.
목차
1. 들어가는 글
2. 곡사의 자기반영적 미학 전략 : 미장 아빔(mise-en abyme), 퍼포먼스(performance), 상호 텍스트성(intertextuality)
3. 맺는 말
참고문헌
Abstract
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