시간여행 영화의 비선형적 사유: <도니 다코>를 중심으로

Abstract

This essay attempts to explore how time travel films manipulate time in its philosophical context. Two key questions arise: what kind of images can be created from different aspects of time in time travel films, and in what ways can these cinematic images evoke a mode of thinking? The inquiry of this essay focuses on the analysis of Richard Kelly’s Donnie Darko in terms of the Deleuzean notions of time-image, interstice, and incompossibility. Kelly’s film, which drew the remarkable attention in 2001 Sundance Film Festival, deals with the narrative time in a way that the past and the future coexist in the present. By jumping from one plane to another in the protagonist’s consciousness and thereby blurring the boundary of linear lines in narrative time, the film creates an interstice which enables us to think about the incompossibility in the line of tragic flight from the absurdity of the world.