미래주의에 나타난 움직임과 속도의 재현 - 포토다이나미즘에 미친 크로노포토그라피의 영향 -

Abstract

A series of changes, which take place following the revolution of catching moment in the 1880s, such as amateur photograph, movie, cubism, futurism, photodynamism, and photo-journalism, are shown as a new paradigm different from the previous traditional reproduction from the corner of the 20th century. It directly implies the revival of time and velocity. Just amidst the revolution of this reproduction, there was chronophotography of Etienne-Jule Marey. In particular, chronophotography, which was utilized as the trace of movement in common by Italian futurists’ picture or a photograph, is shown as the mental reappearance that was selected for revealing their radical consciousness from impression or effect of movement, not a scientific record or a simple formative tool of the moving substance. Futurists craved for revolution and innovation in the new world that most masses demanded in the socially and politically turbulent period at that time. Also, their artistic performance was believed to be capable of constructing new utopia. A photo, which was utilized for reproducing the movements in early futurists’ formative works, has a form of sequence that shows consecutive motion, but is indicated as the trace of energy that shows gradual extinction and trace in the progressive motions, namely, as the trajectory of movement hinting at dynamics. However, what is important here is not what records a flow of movement or analyzes it with continual stage, but what makes a dynamic scene and its impression as the performance under the development in a scene. Also, Marey’s chronophotography becomes much more effective tool for artists who try to reproduce movement, velocity, exercise, anxiety, agitation, rhythm and pattern of the theme through such trace, rather than reviving physical mark itself of movement. In conclusion, as the dynamism in futurism, which aims to construct the new world through social revolution, is a signal of every life that is vividly alive, it is shown as the graphic dynamism of a photo that revives trace and life of movement.

A series of changes, which take place following the revolution of catching moment in the 1880s, such as amateur photograph, movie, cubism, futurism, photodynamism, and photo-journalism, are shown as a new paradigm different from the previous traditional reproduction from the corner of the 20th century. It directly implies the revival of time and velocity. Just amidst the revolution of this reproduction, there was chronophotography of Etienne-Jule Marey. In particular, chronophotography, which was utilized as the trace of movement in common by Italian futurists’ picture or a photograph, is shown as the mental reappearance that was selected for revealing their radical consciousness from impression or effect of movement, not a scientific record or a simple formative tool of the moving substance. Futurists craved for revolution and innovation in the new world that most masses demanded in the socially and politically turbulent period at that time. Also, their artistic performance was believed to be capable of constructing new utopia. A photo, which was utilized for reproducing the movements in early futurists’ formative works, has a form of sequence that shows consecutive motion, but is indicated as the trace of energy that shows gradual extinction and trace in the progressive motions, namely, as the trajectory of movement hinting at dynamics. However, what is important here is not what records a flow of movement or analyzes it with continual stage, but what makes a dynamic scene and its impression as the performance under the development in a scene. Also, Marey’s chronophotography becomes much more effective tool for artists who try to reproduce movement, velocity, exercise, anxiety, agitation, rhythm and pattern of the theme through such trace, rather than reviving physical mark itself of movement. In conclusion, as the dynamism in futurism, which aims to construct the new world through social revolution, is a signal of every life that is vividly alive, it is shown as the graphic dynamism of a photo that revives trace and life of movement.