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This paper aims to reveal the multiple sens of the chronophotography that Etienne-Jules Marey, a French physiologist in 19th century, invented to analyze the animal locomotion. Marey, unlike Eadweard Muybridge, was not simply a photography or artist, but a famous scientist in those days. He was interested in analyzing the animal locomotion, as he put it, the langage of life itself. In order to study the mouvement of animal, he invented the graphic method which recorded the motion of the body without using human observation and hands. However, Marey knew that his graphic method could not represent the complex relationships that occurred between one body part and each of the others at the same time. After seeing the sequence of photographs of galloping horses taken by Muybridge, Marey adopted the photographical method in place of the graphic method.
In 1882, He invented the technique of chronophotography in which he used one camera, one sensitive plate. Marey dressed a man all in white and had him move in front of a total black background. Marey created a sequence of images in a single sensitive plate. But the chronophotography had one important limit. The photographs are taken so close together that they interfere with one another and produce the confused effect. To avoid this confusion, Marey takes picture of not the entire body of the subject, but only certain lines or points whose position is significant of the facts that he desires to know. Eventually, in Marey’s chronophotography the body is reduced to the geometrical elements, lines and points. The body, the real, the phenomena become the most abstract representation. By using a graphical chronophotography, Marey returns to his early method, graphical method. Graph, line, schematism, abstraction are the key concepts in Marey’s scientific method.
In 1882, He invented the technique of chronophotography in which he used one camera, one sensitive plate. Marey dressed a man all in white and had him move in front of a total black background. Marey created a sequence of images in a single sensitive plate. But the chronophotography had one important limit. The photographs are taken so close together that they interfere with one another and produce the confused effect. To avoid this confusion, Marey takes picture of not the entire body of the subject, but only certain lines or points whose position is significant of the facts that he desires to know. Eventually, in Marey’s chronophotography the body is reduced to the geometrical elements, lines and points. The body, the real, the phenomena become the most abstract representation. By using a graphical chronophotography, Marey returns to his early method, graphical method. Graph, line, schematism, abstraction are the key concepts in Marey’s scientific method.
목차
Ⅰ. 들어가는 글
Ⅱ. 동작 분석을 위한‘ 그래픽 방법’
Ⅲ. 동작 분석을 위한 사진적 방법: 크로노포토그라피
Ⅳ. 기하학적 크로노포토그라피: 이미지에서 선으로
Ⅴ. 나오는 글
참고문헌
Abstract
참고문헌 (13)
참고문헌 신청
Braun, Marta / 1995 / Marey and Muybridge / Nova Scotia School of Art and Design Special Lecture 26
Braun, Marta / 2007 / Aux limites du savoir: 1845-1900; la photographie et les sciences de l'observation, In L’Art de la Photographie des origines å nos jours / Citadelles & Mazenod
Frizot, Michel / 1994 / Vitesse de la photographie. Le mouvement et la durée, In Nouvelle histoire de la photographie / Bordas/Adam Biro
Frizot, Michel / 2001 / Etienne-Jules Marey : Chronophotographe / Nathan
Marey, Etienne-Jules / 1872 / Des allures du cheval, étudiées par la méthode graphique / Comptes Rendus de l’Académie des sciences 14
Braun, Marta / 2007 / Aux limites du savoir: 1845-1900; la photographie et les sciences de l'observation, In L’Art de la Photographie des origines å nos jours / Citadelles & Mazenod
Frizot, Michel / 1994 / Vitesse de la photographie. Le mouvement et la durée, In Nouvelle histoire de la photographie / Bordas/Adam Biro
Frizot, Michel / 2001 / Etienne-Jules Marey : Chronophotographe / Nathan
Marey, Etienne-Jules / 1872 / Des allures du cheval, étudiées par la méthode graphique / Comptes Rendus de l’Académie des sciences 14
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