시적 은유로서 몽타주와 영화적 ‘무딘 의미’: <비몽>에 나타난 몽타주 분석을 통해 (A Montage as Poetic Metaphor and Filmic ‘le sens obtus’ —through the analysis of montage in Dream(悲夢))

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초록

Barthes, when analyzing filmic images, distinguishes ‘le sens obvie’ from ‘le sens obtus.’ While ‘le sens obvie’ casts its anchor to the layer of customs and symbols, ‘le sens obtus’ is more of an instrumental concept that explains the initial process of signification. According to Barthes, the role of aesthetics of montage is condensed into manifesting ‘le sens obvie.’ Therefore, montage, which has been recognized as a system of filmic description, used to be conceptualized as a device which accumulates ‘le sens obvie.’
However this paper focuses on the fact that some montage of certain films play a role to separate images from deictic imitation and reappearance. In particular, the montages with aesthetic features led to interrogative reading through various potential signifié while proceeding to the absoluteness of signifiant itself which denies signifying. In light of this, Barthes’s ‘le sens obtus’, obtained from the analysis of Eisenstein’s montage on still photograph needs further modifications.
The discussion so far emerged in detail from the form of montage in <Dream>. Practically, when observing the connection between individual shots, scenes, and sequence, it is found to have moments of coding and decoding. In the case of <Dream>, while filmic description is in progress, the audience frequently encounters the images which they cannot signify in a short period of time; in other words, signifiant itself as an image frequently earns a superior status. At this moment, aesthetic self-control of individual montages which constitutes parts of filmic text grows, and the audience experiences initiation of ‘le sens obtus.’
This paper distinguishes epiphor, whose main and substitutive ideas are connected by associative relation, from diaphor which contrives shocking connection between the two ideas, ruling out any similaries between them, and then prolongs this distinction as epiphor-linkage montage and diaphor-collision montage, respectively. In this context, ‘le sens obtus’ expressed in <Dream> was initiated in tandem with the arrival of the image that drove ‘pluralization of meanings’ in the collision montage.
In short, this paper emphasizes that ‘le sens obtus’ which initiates from the form of collision montage, is related to the aesthetic effects of diaphor. Meaning debates on ‘le sens obtus’ are anticipated, since films which leave the meanings open to any interpretation, and poetry which encompasses aesthetics of ambiguity, offer various points of discussion.

영어초록

Barthes, when analyzing filmic images, distinguishes ‘le sens obvie’ from ‘le sens obtus.’ While ‘le sens obvie’ casts its anchor to the layer of customs and symbols, ‘le sens obtus’ is more of an instrumental concept that explains the initial process of signification. According to Barthes, the role of aesthetics of montage is condensed into manifesting ‘le sens obvie.’ Therefore, montage, which has been recognized as a system of filmic description, used to be conceptualized as a device which accumulates ‘le sens obvie.’
However this paper focuses on the fact that some montage of certain films play a role to separate images from deictic imitation and reappearance. In particular, the montages with aesthetic features led to interrogative reading through various potential signifié while proceeding to the absoluteness of signifiant itself which denies signifying. In light of this, Barthes’s ‘le sens obtus’, obtained from the analysis of Eisenstein’s montage on still photograph needs further modifications.
The discussion so far emerged in detail from the form of montage in <Dream>. Practically, when observing the connection between individual shots, scenes, and sequence, it is found to have moments of coding and decoding. In the case of <Dream>, while filmic description is in progress, the audience frequently encounters the images which they cannot signify in a short period of time; in other words, signifiant itself as an image frequently earns a superior status. At this moment, aesthetic self-control of individual montages which constitutes parts of filmic text grows, and the audience experiences initiation of ‘le sens obtus.’
This paper distinguishes epiphor, whose main and substitutive ideas are connected by associative relation, from diaphor which contrives shocking connection between the two ideas, ruling out any similaries between them, and then prolongs this distinction as epiphor-linkage montage and diaphor-collision montage, respectively. In this context, ‘le sens obtus’ expressed in <Dream> was initiated in tandem with the arrival of the image that drove ‘pluralization of meanings’ in the collision montage.
In short, this paper emphasizes that ‘le sens obtus’ which initiates from the form of collision montage, is related to the aesthetic effects of diaphor. Meaning debates on ‘le sens obtus’ are anticipated, since films which leave the meanings open to any interpretation, and poetry which encompasses aesthetics of ambiguity, offer various points of discussion.

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