영구아트의 <D-WAR디워>, 디지털 상상의 탈신화화 (, Demythologization of Digital Image)

서지정보

· 발행기관 : 한국디지털영상학회
· 수록지 정보 : PREVIEW : 디지털영상학술지 / 5권 / 1호 / 129 ~ 157페이지
· 저자명 : 김종국

초록

I did rethink <D-WAR>(Sim Hyung-Rae, 2007) with digital theory at a boundary between mythologization and demythologization. As the digital game image <D-WAR> is faced with spectators somewhere the perspective of representational system, the superficiality of mechanical image and homogeneity/heterogeneity exist. It comes up synaesthetically to the interactive, productive spectators. It's just a play like an immature Young-Gu(director's character as a comedian) to the educated critics, who internalized the otherness like Aristotle's plots and Hollywood styles. The remediational strategies in exchange for the cinematic norm and order is a field of demythologizing possibility. The exclusiveness and normativity of an popular elite group are always confronted with an anxious, disordered threat by abject of speaking subject on processing. As abject in me, in us the acceptance of heterogeneous otherness is a meaning, effect for the transitional possibilities. It's a good harvest that we had in disputes on <D-WAR>. The hierarchicalization inherent between professional critics and general audiences that a specific notion overwhelmed the others is collapsed by digital writings of new spectators.
<D-WAR> is a field of the potential. The moving from digital technologies of post-production including computer graphics to game, animation and broadcasting is very active. By the way, the sphere of film is exclusive and can't catch up with the world's transition. In the cultural age for art to be industrialized, film industry isn't any longer the cinema's possessions exclusively and shouldn't get to be so.

영어초록

I did rethink <D-WAR>(Sim Hyung-Rae, 2007) with digital theory at a boundary between mythologization and demythologization. As the digital game image <D-WAR> is faced with spectators somewhere the perspective of representational system, the superficiality of mechanical image and homogeneity/heterogeneity exist. It comes up synaesthetically to the interactive, productive spectators. It's just a play like an immature Young-Gu(director's character as a comedian) to the educated critics, who internalized the otherness like Aristotle's plots and Hollywood styles. The remediational strategies in exchange for the cinematic norm and order is a field of demythologizing possibility. The exclusiveness and normativity of an popular elite group are always confronted with an anxious, disordered threat by abject of speaking subject on processing. As abject in me, in us the acceptance of heterogeneous otherness is a meaning, effect for the transitional possibilities. It's a good harvest that we had in disputes on <D-WAR>. The hierarchicalization inherent between professional critics and general audiences that a specific notion overwhelmed the others is collapsed by digital writings of new spectators.
<D-WAR> is a field of the potential. The moving from digital technologies of post-production including computer graphics to game, animation and broadcasting is very active. By the way, the sphere of film is exclusive and can't catch up with the world's transition. In the cultural age for art to be industrialized, film industry isn't any longer the cinema's possessions exclusively and shouldn't get to be so.

참고자료

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