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
This paper was designed in an attempt to explore the new possibilities of film aesthetics. But new aesthetics will be made with interactive cinema in the digital paradigm. there is no place where past aesthetics intrude into between Fluid text and moving text.
Now, the status quo in the interactive theories have fatal weakness, that is the absence of the text to prove that theories and hypotheses. Therefore, to explore the possibility of a new aesthetic, after all, must be limited in the text of the floating. Cinematic paradigm have changed several times during the last century. But we admit that cinema is art recently. Far that would go down in the cinematic avant-garde artists of the 1920s. and the experiment of that time will be able to remind 1960s modernism.
Numerous scholars who wrote about cinema can raise cinema as art. but cinema still does not tow the artistic concept and aesthetics Then, even in the midst of some East Asian directors are experimenting with the possibility of the most radical of film aesthetics. Apichatpong Weerasethakul of Thailand and Tsai Ming-Liang from Taiwan have made their own aesthetics with index and the concept of the sublime. But their cinema not only based on a few concepts.
They carry the theme through the story and experiment with aesthetics. These artist use strange structure in order to tie various aesthetic concepts. These aesthetic experiments is possible with an insight of the ‘crisis of representation’.
However, some people have different view point about that ‘crisis’ they attempt to reach a new realism with materiality of film. that cinematic tendency control Europe. I selectively analysis several films. Hence, further universality of this paper in order to gain, a more thorough analysis of multi-layered text would be made.
Now, the status quo in the interactive theories have fatal weakness, that is the absence of the text to prove that theories and hypotheses. Therefore, to explore the possibility of a new aesthetic, after all, must be limited in the text of the floating. Cinematic paradigm have changed several times during the last century. But we admit that cinema is art recently. Far that would go down in the cinematic avant-garde artists of the 1920s. and the experiment of that time will be able to remind 1960s modernism.
Numerous scholars who wrote about cinema can raise cinema as art. but cinema still does not tow the artistic concept and aesthetics Then, even in the midst of some East Asian directors are experimenting with the possibility of the most radical of film aesthetics. Apichatpong Weerasethakul of Thailand and Tsai Ming-Liang from Taiwan have made their own aesthetics with index and the concept of the sublime. But their cinema not only based on a few concepts.
They carry the theme through the story and experiment with aesthetics. These artist use strange structure in order to tie various aesthetic concepts. These aesthetic experiments is possible with an insight of the ‘crisis of representation’.
However, some people have different view point about that ‘crisis’ they attempt to reach a new realism with materiality of film. that cinematic tendency control Europe. I selectively analysis several films. Hence, further universality of this paper in order to gain, a more thorough analysis of multi-layered text would be made.
목차
1. 들어가며
2. 프라이타그와 숭고의 결합
3. 영화적 물질성의 무한 확장
4. 숭고와 인덱스 그리고 구조의 결합을 통한 실재와 환상의 통합
5. 나가며
참고문헌
Abstract
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UCI(KEPA) : I410-ECN-0101-2014-688-002402687