장 뤽 고다르의 메타역사: 역사적 몽타주와 디지털 이미지

Abstract

Throughout his career, Jean-Luc Godard has worked on a meta-reflection of existing art and philosophical ideas and social phenomena. In particular, after the 1980s, he wondered what is ‘the historical’ and what is the image of historical recognition that can be reached only through the configuration of images. The cinematic means for this is montage. This paper calls it ‘historical montage’ and explains its principle. For this, Walter Benjamin’s ‘theses on the Philosophy of History’ is taken as an important theoretical criterion. Benjamin’s ‘dialectics at a standstill’, seen as the core principle of historical image configuration, is useful for identifying Godard’s montage principle. See also Giorgio Agamben’s discussion of how to construct moments of repetition and stoppage at the practical level of montage. Godard constructs historical constellations through the projection and ‘shot-reverse shot’ which is the fundamental principles of the film (JLG/JLG, Notre Musique). Also, in the digital age, he explores the ‘materiality-effect’ through the differences in image quality and sound quality of digital images, subverts the fundamental ‘stereoscopic’ principles of 3D technology, and meta-reflects the problems of digital transformation and distortion (Film socialisme, Adieu au langage, Le livre d’image). In these various cases, Godard constitutes a particular and also universal historical recognition about the history of violence marked by war and destruction and the history of victims who are oppressed and persecuted in the process.