영화인문학, 디지털시대의 인문학

• 영문명: The Cinematic Humanities as Humanities in the Digital Age
• 발행기관: 한국영화학회
• 저자명: 김기봉
• 간행물 정보: 『영화연구』제58호, 33~54쪽, 전체 22쪽
• 주제분류: 예술체육 > 예술일반
• 파일형태: PDF
• 발행일자: 2013.12.31

영문 초록

The movies of our time are referred to as dream factories, because they are a mirror of our present, and yet at the same time, they usher us to worlds beyond reality. Human beings live in both the world of reality,and the world of dreams. Reality and dreams are two sides of the same coin. To humans, “Dreams without reality are blank, and reality without dreams is blind.”People of the modern age have crafted movies as a way of creating their own dreams and vividly observing the dreams of others. For modern people, a movie functions as an “inception,” a starting point from which life change is made possible through the planning and implementation of one’s own dream through the observation of other people’s dreams. The movie Inception showed us that we can change an individual’s life by infusing that individual with a specific dream. This is because thoughts steer human actions, and dreams produce these thoughts. The movies of our time are the strongest tools available that make such life changing “inceptions” possible. By teaching us how to use these tools, the cinematic Humanities stimulate individual reflection on how to better live a life that is always entangled by the dialectics of reality and dreams. The motto of the cinematic Humanities is as follows: “making one’s life like a movie, and seeing a movie like one’s life.” The phrase making one’s life like a movie implies that “life is a movie.” Simply living my everyday life is akin to shooting my life’s movie, completed by collecting 53김 기 봉and editing its cuts. While making one’s life like a movie refers to the production of life’s movies, seeing a movie like one’s life refers to the usage of movies as a mirror of life. The task of the cinematic humanities is to teach people how to reflect their lives through the cinematic mirror,and to visualize living their lives as if they were in a well-made movie in which they are simultaneously the directors, actors and viewers. According to Wikipedia’s, definition, the Humanities are those academic disciplines that study the conditions of human beings. Today, the people that pose the most challenging questions about the human condition are movie makers. By watching their movies, the public reflects upon what it really means to be a human being. This rise of cinema as the genre that poses the most humanistically significant questions can be explained by the transition from Gutenberg’s printing era to the digital age. Although the Humanities were originally a product of the age of letters, the digital civilization has brought about the creation of the cinematic Humanities, which focus on carving out human patterns with the figurative cinematic knife. In the future, through cloning or cyborg technology, science just might allow humans to achieve immortality. The ‘Faust’ of our time would be to enter into a ‘post-human’ age. However, what sort of meaning would a soul-less human being have? What could save ‘Faust’ of our time? As ‘Faust’ was, in our age, those that are concerned, to a self-destructive extent, with the most basic questions of existence are the movie makers. Through the medium of cinema, they hurl grand questions about humanity and society that cannot be answered by particular knowledge and information. Accordingly, this talk seeks to demonstrate that the cinematic Humanities are the representative Humanities of our age through the analysis of four movies: Thirst, Pieta, Life of Pi, and Snowpiercer.

목차

1. 꿈의 ‘인셉션’으로서 영화

2. “인생을 영화처럼, 영화를 인생처럼”

3. “우리시대 인문학은 영화다”

4. 영화가 던진 물음에 대한 인문학적 성찰

5. 영화인문학과 인문학의 미래

키워드

Cinematic Humanities Making one’s life like a movie seeing a movie like one’s life Inception Dream factory Carpe Diem