메뉴 건너뛰기
.. 내서재 .. 알림
소속 기관/학교 인증
인증하면 논문, 학술자료 등을  무료로 열람할 수 있어요.
한국대학교, 누리자동차, 시립도서관 등 나의 기관을 확인해보세요
(국내 대학 90% 이상 구독 중)
로그인 회원가입 고객센터 ENG
주제분류

추천
검색
질문

논문 기본 정보

자료유형
학술저널
저자정보
저널정보
서양미술사학회 서양미술사학회논문집 서양미술사학회 논문집 제26집
발행연도
2007.2
수록면
142 - 163 (22page)

이용수

표지
📌
연구주제
📖
연구배경
🔬
연구방법
🏆
연구결과
AI에게 요청하기
추천
검색
질문

초록· 키워드

오류제보하기
In the 1920s’ France, the flux of ‘avant-garde cinema’ was led mainly by artists who were engaged in the various artistic movements of the early twentieth century. These artists include Viking Eggeling, Hans Richter, Man Ray, Marcel Duchamp, Fernand Leger, and Salvador Dali. They all experimented with the cinematic apparatus in hopes of inventing a new visual language as part of their artistic expression. This meant a radical break from popular conventions of narrative cinema, which they believed stifled its potential for creative medium of visual art.
Often termed ‘Dada and Surrealist films’, their films can be divided into three categories. In a way that highlights the spirit of abstract painting, the first category of these films calls onto screen a series of geometric shapes and patterns in varying motions and speeds. In Eggeling’s 〈Diagonal Symphonie〉and Richter’s 〈Rythmus 21〉, for instance, these moving images are treated as musical notes in an ever-changing ensemble. Aptly called as “motion pictures,” these films thus reveal an enthusiasm of the early twentieth-century artists for exploring time as an new region of visual experience.
Another bolder departure from the cinematic tradition decisively took on a Dadaist direction. Man Ray’s 〈Le Retour a la Raison〉, 〈Emak Bakia〉, Leger’s 〈Ballet Mecanique〉, and Duchamp’s 〈Anemic Cinema〉all aimed at challenging the viewer’s vision that calls for coherence in perception. Far from offering a clear, transparent field of vision, they continue to parade abstract patterns and everyday gestures, and connect unrelated images at random, which gives an impression of visual boredom and nonsense. These images even appear to deny an access to the viewer’s eye. By using special filters and turntable effects, they render the object of viewing obscure and hallucinating.
The last category can be embodied by films such as Man Ray’s 〈L’Etoile de Mer〉, and Bunuel and Dali’s 〈Un Chien Andalou〉. Unlike the first two, these works appear to adopt the narrative convention of popular cinema. But a closer inspection reveals their intriguing strategies designed to subvert the very convention. Punctuated with baffling images and abrupt cuts, their narratives debunk the logical, linear flow of time and events. Their images are often dream-like, a gateway to deeper layers of the unconscious, unspeakable desires and fragments of experience.
Shared among all these 1920s’ avant-garde cinema in France is a greater role of creativity assigned to the viewer’s perception and interpretation. With the influence of Dada and Surrealism that stretched the visual threshold of art and interpretation, the 1920s’ aritsts’ films explored the new language of cinema and the unconscious that radically departed from the conventions of cinema and art making.

목차

Ⅰ. 들어가며
Ⅱ. 움직이는 추상: 음악을 담고 싶은 미술
Ⅲ. 시각에 대한 도전
Ⅳ. 관객의 이성(reason)에 대한 도전
Ⅴ. 맺음말
참고문헌
Abstract
「시각과 이성에 대한 도전: 1920년대 프랑스를 중심으로 본 미술가들의 영화」에 대한 질의

참고문헌 (0)

참고문헌 신청

함께 읽어보면 좋을 논문

논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!

이 논문의 저자 정보

이 논문과 함께 이용한 논문

최근 본 자료

전체보기

댓글(0)

0

UCI(KEPA) : I410-ECN-0101-2009-609-016512249