지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
If we would see the cinema system, we could notice that actor exists without spectators and spectators also exist without actor. We didn't face the sight of voyeurism by actor's neglecting camera
We can call this as a kind of motivation of cinema system. This Freudian analogy due to various characters of cinema: we, spectators sit in front of the bright screen in darkness. It makes key hole effect. And though we are members of spectators in the theater, we, individuals are alone in that space.
Stealing a look at something, such immoral experience takes place in the theater. Therefore, theater is space where gestate erotic desire. Many cinemas producers manufactured eroticism through the character of Eros of cinema and theater. The truth that first genre in cinema history is pomography is natural result.
We, human are adhesive narcissists who want satisfaction by detour or substitution when we don't manage our desire. Suppressed things always will be doom to return. Therefore anybody didn't terminate a secret fantasy. When we can't be satisfied, people have to seek to some kind of substation. Namely, a substation appears metonymy. Cinema producers have made Eros through psychological projection and cinematic illusion.
Artistic directors abandoned the identification and psychological projection was the reason why voyeurism wasn't connected with eroticism.
In many art cinema, They make us awake vain hope by gazing the object of desire strictly.
Tsai Ming Liang, One of artistic directors shows us not the beauty of Eros which searches for positive catharsis Erotic shots in Tsai' cinema depicts that pathos accomplished displeasure and violating ecstasy through breaking the control of logos
This moment doesn't anything happen and physical time is halted. Vibrating energy doesn't sail towards any directions. That is a tense moment when displeasure and transcendental pleasure are crossed and anything doesn't happen: It's just point of the sublime. The space where metonymical artists show us is cinematic representation of Freudian world and our self-portrait which mixed with Libido and Thanatos.
We can call this as a kind of motivation of cinema system. This Freudian analogy due to various characters of cinema: we, spectators sit in front of the bright screen in darkness. It makes key hole effect. And though we are members of spectators in the theater, we, individuals are alone in that space.
Stealing a look at something, such immoral experience takes place in the theater. Therefore, theater is space where gestate erotic desire. Many cinemas producers manufactured eroticism through the character of Eros of cinema and theater. The truth that first genre in cinema history is pomography is natural result.
We, human are adhesive narcissists who want satisfaction by detour or substitution when we don't manage our desire. Suppressed things always will be doom to return. Therefore anybody didn't terminate a secret fantasy. When we can't be satisfied, people have to seek to some kind of substation. Namely, a substation appears metonymy. Cinema producers have made Eros through psychological projection and cinematic illusion.
Artistic directors abandoned the identification and psychological projection was the reason why voyeurism wasn't connected with eroticism.
In many art cinema, They make us awake vain hope by gazing the object of desire strictly.
Tsai Ming Liang, One of artistic directors shows us not the beauty of Eros which searches for positive catharsis Erotic shots in Tsai' cinema depicts that pathos accomplished displeasure and violating ecstasy through breaking the control of logos
This moment doesn't anything happen and physical time is halted. Vibrating energy doesn't sail towards any directions. That is a tense moment when displeasure and transcendental pleasure are crossed and anything doesn't happen: It's just point of the sublime. The space where metonymical artists show us is cinematic representation of Freudian world and our self-portrait which mixed with Libido and Thanatos.
목차
1. 부정의 카타르시스, 숭고
2. 영화와 숭고
3. 욕망과 숭고의 결합
4. 스투디움에서 푼크툼으로의 전환
5. 은유와 시선 미학의 해체
6. 결론
참고문헌
Abstract
참고문헌 (15)
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