듀안 마이클스 사진의 서사구조와 시간성 (Narrative Structure and Temporality of Duane Michals Photography)

서지정보

· 발행기관 : 현대사진영상학회
· 수록지 정보 : 현대사진영상학회 논문집 / 23권 / 3호 / 167 ~ 183페이지
· 저자명 : 정훈

초록

Duane Michals' works have evolved from a conventional representation system of photography to various aspects. His sequence photo and photo-text have mainly been presented in expression distinct from traditional art photography. However, beyond these styles, another series of modes take a double or triple narrative structure that reflects the artist’s memories, history of society, and contemporaries. Since these dual narrative structures are not fixed with single- meaning images and narratives, the process of readers/viewers’ reading of images naturally becomes a process of participating in multiple stories and responding to the artist’s reasoning.
It was discovered in the early days of Michals’ work and deepened through the mid-1970s. Starting from this period, taking a dual narrative structure not only overlaps the artist’s personal narrative and the contemporary context of society but also implies a mutually indicating the narrative context of the existing work oddly intertwined within the narrative structure. These works provide readers/ viewers with an opportunity to three-dimensionally reason the present time, times of now-here, as the narratives of individuals and societies are presented in overlaps between individual reasons and the ideology of society, the accidental sensations and the reason by the principle of causality, and the changing consciousness and fixed meaning.

영어초록

Duane Michals' works have evolved from a conventional representation system of photography to various aspects. His sequence photo and photo-text have mainly been presented in expression distinct from traditional art photography. However, beyond these styles, another series of modes take a double or triple narrative structure that reflects the artist’s memories, history of society, and contemporaries. Since these dual narrative structures are not fixed with single- meaning images and narratives, the process of readers/viewers’ reading of images naturally becomes a process of participating in multiple stories and responding to the artist’s reasoning.
It was discovered in the early days of Michals’ work and deepened through the mid-1970s. Starting from this period, taking a dual narrative structure not only overlaps the artist’s personal narrative and the contemporary context of society but also implies a mutually indicating the narrative context of the existing work oddly intertwined within the narrative structure. These works provide readers/ viewers with an opportunity to three-dimensionally reason the present time, times of now-here, as the narratives of individuals and societies are presented in overlaps between individual reasons and the ideology of society, the accidental sensations and the reason by the principle of causality, and the changing consciousness and fixed meaning.

참고자료

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