공간, 영화, 영화-공간에 대한 미학적 고찰 ―헤르만 슈미츠의 신체현상학적 이론을 중심으로 (Some Reflections on Space, Film and Film-space - Focused on the body-phenomenological theory of Hermann Schmitz)

서지정보

· 발행기관 : 현대미술학회
· 수록지 정보 : 현대미술학 논문집 / 12권 / 295 ~ 333페이지
· 저자명 : 하선규

초록

The matter of 'space' has been a key theme of human
culture. Today, we are discussing it in daily life or
theoretically from various point of view. We are using the
concept of space in various meanings such as physical
space, geographical space, architectural space, space as a
landscape, aesthetic space, social space, media space,
cyber space and so on.
Yet, when asked what the exact meaning of space is, we
can't properly answer the question. Considering these
difficulties about definition of the meaning of space, this
paper examines firstly the theory of space of Kant because
his theory of space still has a classical significance in two
aspects. It suggests systematic theory on
physical-objective space as well as tries to approach
phenomenologically to the matter of space.
Secondly this paper deals with the problem of space
experience by focusing on German philosopher, Hermann
Schimitz's theory of space. His body-phenomenological
access reveals various aspects and implications that the
spatial experience of human includes. Specially his
explanation on three dimensions of space experience -
'expansion-space' 'direction-space' and 'location-space' -
has a remarkable systematic value and theoretical
persuasion. In addition it is extraordinary impressive that
he emphasizes spatial character of emotion.
His body-phenomenological theory of space is thought to
have productive potential regarding film theory. Therefore
this paper discusses thirdly the reason why the film is
regarded as a proper medium that expends and strengthens
our space experience. It also analyzes the way in which
genuine properties of film are related to spatial experience
of film spectators.
Film can be defined as a medium that more vitally
expresses the direction-space, movement and spatial
situation of emotion than any other art form. The deep
understanding of space experience will be applied to
reflect perceptional process and aesthetic properties of
other art forms such as painting, sculpture, play, opera
etc. Furthermore through such differentiations of space
experience we can precisely interpret the meanings and
effectiveness of cultural systems like media forms or
political events.

영어초록

The matter of 'space' has been a key theme of human
culture. Today, we are discussing it in daily life or
theoretically from various point of view. We are using the
concept of space in various meanings such as physical
space, geographical space, architectural space, space as a
landscape, aesthetic space, social space, media space,
cyber space and so on.
Yet, when asked what the exact meaning of space is, we
can't properly answer the question. Considering these
difficulties about definition of the meaning of space, this
paper examines firstly the theory of space of Kant because
his theory of space still has a classical significance in two
aspects. It suggests systematic theory on
physical-objective space as well as tries to approach
phenomenologically to the matter of space.
Secondly this paper deals with the problem of space
experience by focusing on German philosopher, Hermann
Schimitz's theory of space. His body-phenomenological
access reveals various aspects and implications that the
spatial experience of human includes. Specially his
explanation on three dimensions of space experience -
'expansion-space' 'direction-space' and 'location-space' -
has a remarkable systematic value and theoretical
persuasion. In addition it is extraordinary impressive that
he emphasizes spatial character of emotion.
His body-phenomenological theory of space is thought to
have productive potential regarding film theory. Therefore
this paper discusses thirdly the reason why the film is
regarded as a proper medium that expends and strengthens
our space experience. It also analyzes the way in which
genuine properties of film are related to spatial experience
of film spectators.
Film can be defined as a medium that more vitally
expresses the direction-space, movement and spatial
situation of emotion than any other art form. The deep
understanding of space experience will be applied to
reflect perceptional process and aesthetic properties of
other art forms such as painting, sculpture, play, opera
etc. Furthermore through such differentiations of space
experience we can precisely interpret the meanings and
effectiveness of cultural systems like media forms or
political events.

참고자료

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