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
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This study deals with Abbas Kiarostami’s Certified Copy through Baudrillard’s theory of simulation. To begin with, looked over are approaches to reality and imitation in the Western art history. First, in Plato’s theory of Forms simulacre can be found as another imitation of the imitation of reality at the level of shadow and image. Second, Bazin’s realist theory regards the principle of film imitating reality as the main aesthetics of realist films.Third, Benjamin maintains that the mechanical reproduction of works of art makes modern art lose the aura and (as for it,) the traditional dichotomy of the original/reproduction have no power. Finally, according to Baudrillard’s theory of simulation, sign/image becomes sheer simulacre which is not related to reality at all and, besides, there appears hyper-realistic simulacre which is more realistic than reality.
In this film, the male and female main characters who haven’t had any acquaintance with and come across each other happen to start a roleplaying game as a husband and a wife. Being hard for even the characters, let alone the audience, to recognize real or simulative, their game assumes the form of simulacre in which differentiation between the original and the reproduction is meaningless. This simulacre in the narrative is expressed through a variety of filmic styles such as reflected image, front shot, etc.. With these, the audience take (double) part in the film as audience and characters. Eventually the question that how you tell the reality from a fiction in the boundary between a real and a fake couple leads to the one about the medium of film itself, that is, the ontology of film in the age of simulacre.
In this film, the male and female main characters who haven’t had any acquaintance with and come across each other happen to start a roleplaying game as a husband and a wife. Being hard for even the characters, let alone the audience, to recognize real or simulative, their game assumes the form of simulacre in which differentiation between the original and the reproduction is meaningless. This simulacre in the narrative is expressed through a variety of filmic styles such as reflected image, front shot, etc.. With these, the audience take (double) part in the film as audience and characters. Eventually the question that how you tell the reality from a fiction in the boundary between a real and a fake couple leads to the one about the medium of film itself, that is, the ontology of film in the age of simulacre.
목차
1. 들어가면서
2. 실재와 모방 : 플라톤, 바쟁, 벤야민이 바라보는 예술
3. 시뮬라시옹의 즐거움 : 보드리야르
4.〈사랑을 카피하다〉－기막힌 복제품, 영화
5. 나오면서
참고문헌
Abstract
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UCI(KEPA) : I410-ECN-0101-2014-688-002349705