유리창과 거울 사이에 대한 응시:영화연구의 두 가지 기본 쟁점들을 통해 본 사유 이미지의 가능성

Abstract

Arguably, film theory has been developed on the basis of two different traditions: realism and psycho-analysis. Each of these traditions promulgates a metaphor which clearly explains how the screen space can be understood. As Andre Bazin argues, the realistic tradition conceives of the screen as a window to reality. And the psychoanalytic tradition conceives of it as a mirror. On the one hand, these metaphors of window and mirror have been evoking two different aspects of spectatorship, i.e., objective and subjective points of view toward the screen. On the other hand, the rigid boundary between these metaphors has been challenged by several filmmakers since the 1960s. Pier Paolo Pasolini argued that the screen could express “a free indirect subjectivity” by blurring the boundary between subject and objective POVs. A group of film directors in the 1960s, including Pasolini and Antonioni, believed that this type of new image was made possible with the development of film technology and the industrial standardization of the color filmmaking. Since then, a series of attempts have been made to create a simultaneously subjective-objective image on the screen. Wim Wenders showed the possibility of a thought-image in the Heideggerian sense of “mit-Sein” through the creation of a strange window image in Paris, Texas (1984). Edward Yang also attempted to impose a spatial depth and imagination on the screen by suggesting a similar type of a strange window image in Yi Yi (2000). In all these attempts, the camera (and the spectator) can enact a thinking space of the cinematic self-consciousness between the subjective and objective images on the screen.