스티브 맥퀀의 작품과 구조영화의 관계 연구

• 영문명: A Study of Relations between of Steve McQueen’s Works and Structural Film
• 발행기관: 한국영상제작기술학회
• 저자명: 장민용
• 간행물 정보: 『영상기술연구』제27호, 267~280쪽, 전체 14쪽
• 주제분류: 예술체육 > 예술일반
• 파일형태: PDF
• 발행일자: 2017.12.31

국문 초록

The aesthetics of structural film could be visible in the work of contemporary filmmaker Steve McQueen. Given the rich set of aesthetic terms this avant-garde film movement has provided, this filmmaker demonstrate renewed iterations of structural film’s formal investigation into the ontology of the filmic medium. Beyond reflecting the movement’s experiments with specificity of the filmic image and the viewer’s conscious perception of it, McQueen places new critical attention on what forms these initial preoccupations have generated. Hence, we found them borrowing structural film’s static shots, long takes, and self-reflexive camera movements in order to re-imagine films like Wavelength and Serene Velocity. Furthermore, in redefining what these filmic forms can do, McQueen unearths an affective political dimension that rests latent in structual film’s form. With work such as McQueen’s Hunger(2008), which recounts IRA Bobby Sand’s 1981 prison hunger strike, the political potential of the structural-flilmic image finds rich expression. In touching upon this figure and this work, I hereby aim to uncover what they may tell us about the relation between the formal and critical functions of the structural-filmic image in its renewed expression.

목차

Ⅰ. 들어가는 말

Ⅱ. 구조영화의 특성

Ⅲ. <파장>과 <고요한 속도>에 나타난 구조영화의 특징

Ⅳ. 스티브 맥퀀의 초기 작품에 나타난 형식의 실험

Ⅴ. <헝거>에 나타난 구조영화의 새로운 가능성

Ⅵ. 나오는 말

참고 문헌

키워드

structural film Steve McQueen Hunger wavelength serene velocity form