미카엘 하네케의 비디올로지: 녹화, 재생, 되감기/빨리감기 (Michael Haneke's Videology: REC, Play, and Rewind/Fast-Forward)

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초록

This paper explores the ways in which the technical medium of video operates in the filmic world. The electro-optical medium is not merely a technological medium videotaping what is going on in the diegetic world, or playing what is videotaped, but an autonomously operating object that both ontologically and reflectively interacts with characters, narratives, and audiences. The live video gaze, marked as the REC indicator or presented from operator’s POV, often emerges as autonomous and capable of enabling a new form of perspective, one that can doubly affect both the operator and the audience. In Michael Haneke’s film, especially, the recorded video images, distinctively marked by a distinct video quality such as scan lines or differences in color and light, not only replays characters’ past memories but also penetrates into the surfaces of their diegetic worlds and reveals their deeply repressed desires and lost memories. Here, video is given a function to represent what is no longer representable with filmic images. In this sense, following Kittler’s inspiring but still controversial phrase, “media determine our situation, the opening statement of his book Gramophone, Film, Typewriter, this paper argues that video is the medium that has the status of the real in the film world so that it represents reality and plays a determining role in constructing the diegetic world, by relocating situations where characters, their desires, and events interact each other. In order to demonstrate the video as a medium related to the real , this paper will analyze Michael Haneke’s films: Benny’s Video (1992), Code Inconnu(2000) and Caché(2005).

영어초록

This paper explores the ways in which the technical medium of video operates in the filmic world. The electro-optical medium is not merely a technological medium videotaping what is going on in the diegetic world, or playing what is videotaped, but an autonomously operating object that both ontologically and reflectively interacts with characters, narratives, and audiences. The live video gaze, marked as the REC indicator or presented from operator’s POV, often emerges as autonomous and capable of enabling a new form of perspective, one that can doubly affect both the operator and the audience. In Michael Haneke’s film, especially, the recorded video images, distinctively marked by a distinct video quality such as scan lines or differences in color and light, not only replays characters’ past memories but also penetrates into the surfaces of their diegetic worlds and reveals their deeply repressed desires and lost memories. Here, video is given a function to represent what is no longer representable with filmic images. In this sense, following Kittler’s inspiring but still controversial phrase, “media determine our situation, the opening statement of his book Gramophone, Film, Typewriter, this paper argues that video is the medium that has the status of the real in the film world so that it represents reality and plays a determining role in constructing the diegetic world, by relocating situations where characters, their desires, and events interact each other. In order to demonstrate the video as a medium related to the real , this paper will analyze Michael Haneke’s films: Benny’s Video (1992), Code Inconnu(2000) and Caché(2005).

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