곡사 텍스트의 자기반영적 미학 스타일: 미장 아빔, 퍼포먼스, 상호텍스트성 -곡사에 관한 두 번째 노트- (The Esthetic Strategies of Reflexivity and Cinematic Performances Ranging between the Screen and Life -The Discussion of Gog Sa-)

서지정보

· 발행기관 : 한국영화학회
· 수록지 정보 : 영화연구 / 44호 / 91 ~ 115페이지
· 저자명 : 문관규

초록

Reflexivity is the typical esthetic style of Gog Sa's texts. In this thesis, Gog Sa's texts are analysed into mise-en abyme, performance and intertextuality as their strategies for reflexivity.
Firstly, mise-en abyme forms the abyss of meanings. One of the mise-en abyme strategies of Gog Sa is to present narrative ambiguousness and magnify their messages by reiteration of scenes. The examples of their major texts are <Time Consciousness> and <Capitalist Manifesto>. <Time Consciousness> expresses philosophical subjects of Husserl's theory of time and Deleuze's difference and repetition. <Capitalist Manifesto> makes it possible to create a decalcomania of images by mise-en abyme. Secondly, there is mise-en abyme expressed through another movie in a movie. Major pieces falling in this category are <Principle of Party Politics> and <Self-contradiction>. Thirdly, Gog Sa makes use of another frame in a frame. A scene of eating an apple from <Anti-dialectic> forms a deep abyss of images and is gathered into a frame in a frame. Mise-en abyme is a distinguishing factor to guarantee Gog Sa's esthetic style and signified and the repetitive use of mise-en abyme clarify their authorial style.
Second of all, there are performances reappeared in <Principle of Party Politics> and <Self-contradiction>. Through shocking acts, theatrical performances re-enact an existence more realistic than a real life. Gog Sa's cinematic performances are divided into the two categories of inserting performances into a film and making a film itself become a performance. In <Self-contradiction>, we can see an active intervention of performances in a movie. Turning a film into a performance can be found in <Principle of Party Politics>. Performances successfully acquire the aggression of the political avant-garde movies by contingency and immediateness.
Thirdly, there is a discussion of intertextuality. Gog Sa's strategy of intertextuality spreads into 'the aggressive relations between text and text, subject and subject, and text and sociocultural influences' rather than the passive 'quotations and influences among pieces.' Gog Sa's texts communicate, quote and converse among texts including existing masterpieces, classics and famous paintings like Magritte. Gog Sa's movies as hyper text are based on various hypo texts from Nietzche's works, Magritte‘s pieces to Marx's <The Communist Manifesto>. Eventually Gog Sa makes their texts interchanges with various hypo texts and pursues the mosaic of various texts by passing through their own preexisting films as hyper text. Gog Sa is an author to create hyper text in a form of film based on philosophical masterpieces as hypo text. The communication between hyper text and hypo text gives Gog Sa's ambiguous text lucidity and creates possibilities for various interpretations.

영어초록

Reflexivity is the typical esthetic style of Gog Sa's texts. In this thesis, Gog Sa's texts are analysed into mise-en abyme, performance and intertextuality as their strategies for reflexivity.
Firstly, mise-en abyme forms the abyss of meanings. One of the mise-en abyme strategies of Gog Sa is to present narrative ambiguousness and magnify their messages by reiteration of scenes. The examples of their major texts are <Time Consciousness> and <Capitalist Manifesto>. <Time Consciousness> expresses philosophical subjects of Husserl's theory of time and Deleuze's difference and repetition. <Capitalist Manifesto> makes it possible to create a decalcomania of images by mise-en abyme. Secondly, there is mise-en abyme expressed through another movie in a movie. Major pieces falling in this category are <Principle of Party Politics> and <Self-contradiction>. Thirdly, Gog Sa makes use of another frame in a frame. A scene of eating an apple from <Anti-dialectic> forms a deep abyss of images and is gathered into a frame in a frame. Mise-en abyme is a distinguishing factor to guarantee Gog Sa's esthetic style and signified and the repetitive use of mise-en abyme clarify their authorial style.
Second of all, there are performances reappeared in <Principle of Party Politics> and <Self-contradiction>. Through shocking acts, theatrical performances re-enact an existence more realistic than a real life. Gog Sa's cinematic performances are divided into the two categories of inserting performances into a film and making a film itself become a performance. In <Self-contradiction>, we can see an active intervention of performances in a movie. Turning a film into a performance can be found in <Principle of Party Politics>. Performances successfully acquire the aggression of the political avant-garde movies by contingency and immediateness.
Thirdly, there is a discussion of intertextuality. Gog Sa's strategy of intertextuality spreads into 'the aggressive relations between text and text, subject and subject, and text and sociocultural influences' rather than the passive 'quotations and influences among pieces.' Gog Sa's texts communicate, quote and converse among texts including existing masterpieces, classics and famous paintings like Magritte. Gog Sa's movies as hyper text are based on various hypo texts from Nietzche's works, Magritte‘s pieces to Marx's <The Communist Manifesto>. Eventually Gog Sa makes their texts interchanges with various hypo texts and pursues the mosaic of various texts by passing through their own preexisting films as hyper text. Gog Sa is an author to create hyper text in a form of film based on philosophical masterpieces as hypo text. The communication between hyper text and hypo text gives Gog Sa's ambiguous text lucidity and creates possibilities for various interpretations.

참고자료

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