장 뤽 고다르의 메타역사: 역사적 몽타주와 디지털 이미지
DC Field | Value | Language |
---|---|---|
dc.contributor.author | 박영석 | - |
dc.date.accessioned | 2021-06-18T07:20:32Z | - |
dc.date.available | 2021-06-18T07:20:32Z | - |
dc.date.issued | 2019-12 | - |
dc.identifier.issn | 1229-9847 | - |
dc.identifier.uri | https://scholarworks.bwise.kr/cau/handle/2019.sw.cau/44520 | - |
dc.description.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. | - |
dc.format.extent | 28 | - |
dc.language | 한국어 | - |
dc.language.iso | KOR | - |
dc.publisher | 문학과영상학회 | - |
dc.title | 장 뤽 고다르의 메타역사: 역사적 몽타주와 디지털 이미지 | - |
dc.title.alternative | Jean-Luc Godard’s Metahistory: Historical Montage and Digital Image | - |
dc.type | Article | - |
dc.identifier.doi | 10.36114/JLF.2019.12.20.3.525 | - |
dc.identifier.bibliographicCitation | 문학과 영상, v.20, no.3, pp 525 - 552 | - |
dc.identifier.kciid | ART002541162 | - |
dc.description.isOpenAccess | N | - |
dc.citation.endPage | 552 | - |
dc.citation.number | 3 | - |
dc.citation.startPage | 525 | - |
dc.citation.title | 문학과 영상 | - |
dc.citation.volume | 20 | - |
dc.publisher.location | 대한민국 | - |
dc.subject.keywordAuthor | 역사적 몽타주 | - |
dc.subject.keywordAuthor | 정관 | - |
dc.subject.keywordAuthor | 정지 상태의 변증법 | - |
dc.subject.keywordAuthor | 변증법적 이미지 | - |
dc.subject.keywordAuthor | 이미지-없음으로서의-이미지 | - |
dc.subject.keywordAuthor | 투사 | - |
dc.subject.keywordAuthor | 쇼트-역쇼트 | - |
dc.subject.keywordAuthor | 물성-효과 | - |
dc.subject.keywordAuthor | 디지털 왜곡 | - |
dc.subject.keywordAuthor | historical montage | - |
dc.subject.keywordAuthor | contemplation | - |
dc.subject.keywordAuthor | dialectics at a standstill | - |
dc.subject.keywordAuthor | dialectic image | - |
dc.subject.keywordAuthor | imagelessness | - |
dc.subject.keywordAuthor | projection | - |
dc.subject.keywordAuthor | shot-reverse shot | - |
dc.subject.keywordAuthor | materiality-effect | - |
dc.subject.keywordAuthor | digital distortion | - |
dc.description.journalRegisteredClass | kci | - |
Items in ScholarWorks are protected by copyright, with all rights reserved, unless otherwise indicated.
84, Heukseok-ro, Dongjak-gu, Seoul, Republic of Korea (06974)02-820-6194
COPYRIGHT 2019 Chung-Ang University All Rights Reserved.
Certain data included herein are derived from the © Web of Science of Clarivate Analytics. All rights reserved.
You may not copy or re-distribute this material in whole or in part without the prior written consent of Clarivate Analytics.