바쟁의 리얼리즘과 기계적 자동주의 다시 읽기

• 영문명: Research of Bazin's Realism and Mechanical Automatism of Camera
• 발행기관: 한국영화학회
• 저자명: 이정하
• 간행물 정보: 『영화연구』제54호, 269~290쪽, 전체 22쪽
• 주제분류: 예술체육 > 예술일반
• 파일형태: PDF
• 발행일자: 2012.12.31

영문 초록

Bazin's theory of ontological realism is his way to get at cinema's unique definition, so distinct from traditional verbal notions of realism. Bazin insists that cinema has to be defined apart from the other arts, for cinema process a very specific and intrinsic link with living reality: cinema is defined primordially as a 'recording', a 'mechanical recording' of this reality. But Bazin's theory regularly contradicts the standard notion of recording. Camera frees reality from so-called stage mechanics and achieves the identification of reality or the things of reality with image it self. That is 'image-fait' called by Bazin for cinematic image. Camera frees therefore cinema itself from photographic reproduction. Contrary to the standard critical line, which from Mitry to Jean-Louis Comolli has rejected the 'surplus of realism', Bazin's realism is found on identification of image and reality.

목차

1. 바쟁의 리얼리즘의 쟁점과 문제들: 연원과 개요

2. 진단과 비평: 바쟁의 논점들에 대한 재고

3. 바쟁의 리얼리즘 다시 읽기: 장치를 넘어 이미지에 대한 새로운 인식론으로

4. 결론

키워드

Bazin Realism Mechanical Automatism of Camera Image-fait