영상의 환영성에 관한 매체철학적 연구 - 1920년대 독일 표현주의 영화사례를 중심으로

Abstract

What were the reasons why images of photography or film could have a so deep and wide influence on cultures, societies, politics and human being himself? Man may suggest various causes and conditions for it, but probably the perceptive power of film images was the most important one that made them realer than common perception in real life. We can call such a perceptive power the illusive or phantasmagoric character of film images. This paper sought to elucidate transcendental conditions for the possibility of their illusive effect in a viewpoint of philosophy of media, focused on concrete experiments and innovations of German Expressionism Movies in the 20's of the last century. The media-philosophical approach doesn't regard a medium as a neutral and transparent channel of contents and information. On the contrary it pays historical attention to some essential properties of medium like opaqueness, risk, independency, therefore it understands a medium as "technological -historical a priori" of symbolic forms of culture. According to it the cinematography is an independent medium producing its particular 'meaning forms' that has its origin in accumulated industrial, scientific and technical achievements of the 19th century. The cinema has quickly arisen as a strong and stable medium that has been producing fantasies and narratives enthralling mass of metropole in Europe and America. It has had a great influence over the way mass perceives and comprehends the world and things. Based on a philosophical explication of meaning of media I move to discuss the problem of the illusive character of film images. In details : I primarily analyse some relevant technological conditions of film medium, and secondly I inquire into the structure of proscenium theatre and particular situation of cinema audience. A special emphasis will be laid on the fact that they receive a flow of moving images not by intelligence but by physiological organs and feeling of body. Thirdly I consider two body-phenomenological meaningful moments, namely 'playing identification(spielerische Identifizierung)' and 'in-bodying(Einleibung)'. These can be applied on the way how cinema audience identifies themselves with the sight of free moving camera. A media-philosophical investigation of the illusive character can first make contributions to comprehension of the perceptive quality of moving images and of their ontological status. Secondly it will be functioned as a starting point with that the relation between moving images and technological civilization or human culture. And finally it will offer opportunity to study further their anthropological and socio-cultural significance.