영화 이미지에서의 존재도학-샹탈 아케르만의 <동쪽>을 중심으로

• 영문명: Ontography on Cinematic Image-Focused on by Chantal Akerman
• 발행기관: 한국영상제작기술학회
• 저자명: 전준혁
• 간행물 정보: 『영상기술연구』제48호, 97~113쪽, 전체 17쪽
• 주제분류: 예술체육 > 예술일반
• 파일형태: PDF
• 발행일자: 2025.09.30

국문 초록

This paper explores the aesthetic connection between the formal structure of cinematic images and the concept of “ontography” from Object-Oriented Ontology (OOO), focusing on Chantal Akerman’s film D’Est(1993). D’Est unfolds through long takes and traveling shots, devoid of interviews, narration, or subtitles that help telling a story. It traces the geography and temporality of Eastern Europe in a serial arrangement that emphasizes the irreducible surfaces of images rather than events or meanings. This mode of arrangement can be interpreted as an ontographic practice, dismantling hierarchical distinctions and positioning human and non-human objects on a flat plane. The film’s scenes evoke Latour litanies, with each object asserting itself independently. In doing so, the film frees itself from narrative constraints and invites interpretation and translation by the viewer. This study highlights how the images in D’Est are composed to reveal the equal ontological status of all objects and examines how this visual strategy resonates with the philosophical thinking of Object-Oriented Ontology. Ultimately, it proposes that cinema can reframe the world through a non-anthropocentric gaze and that the aesthetics of the image can become a field for ontological reflection.

목차

Ⅰ. 서론

Ⅱ. 객체지향 존재론과 존재도학의 미학적 의미

Ⅲ. <동쪽>: 기록된 이미지의 존재도학적 형식과 구조

Ⅳ. 결론

참고문헌

키워드

Slow Cinema Chantal Akerman Object-Oriented Ontology Ontography D’Est.