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
We can not understand experimental films as the existing study of mainstream narrative films. Most of experimental films have different values of evaluation which conventional films could have. They have developed unstrict and personal styles. Here, I want to suggest a possible method of study that experimental film can create the structure of filmic time and I am sure that it can deliver valuable meaning for the aesthetics of experimental film.
First, the temporal duration of film can determine of its meaning. Second, the shape of the film can create the impression of it. Conventional narrative film utilize a linear vector of development. But, in many experimental films, the time vector can have many shapes such as a circular, vertical, spiral one. One final aspect of time aesthetics of experimental film is related of editing process. One critical transformation of the experimental film is the increasing use of collage techniques rather than montage. It tears the imagery out of spatial continuity and restructures it in a temporal continuum by using the filmmaker’s personal cinematic logic. Freed from the representational demands of montage, the filmmaker can evolve a personal logic that temporally coheres the image. Editing in the experimental film can reveal a lot about the filmmaker’s personal expression of energy. Filmmakers can shape of the flow of the imagery from the energy.
First, the temporal duration of film can determine of its meaning. Second, the shape of the film can create the impression of it. Conventional narrative film utilize a linear vector of development. But, in many experimental films, the time vector can have many shapes such as a circular, vertical, spiral one. One final aspect of time aesthetics of experimental film is related of editing process. One critical transformation of the experimental film is the increasing use of collage techniques rather than montage. It tears the imagery out of spatial continuity and restructures it in a temporal continuum by using the filmmaker’s personal cinematic logic. Freed from the representational demands of montage, the filmmaker can evolve a personal logic that temporally coheres the image. Editing in the experimental film can reveal a lot about the filmmaker’s personal expression of energy. Filmmakers can shape of the flow of the imagery from the energy.
목차
1. 서론
2. 영화의 지속시간에 의한 시간의 인식과 의미
3. 실험영화에서 시간의 형태
4. 실험영화에서 편집을 통한 시간의 변형
5. 결론
참고문헌
Abstract
참고문헌 (14)
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UCI(KEPA) : I410-ECN-0101-2013-600-001167616