이브 클랭의 미학과 영화적 가능성 : 블루영화를 중심으로 :Yves Klein’s Blue Aesthetics and Its Filmic Possibility in Blue Movies

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자료유형: 학위논문

저자정보: 최미나 (부산대학교, 부산대학교 대학원)

지도교수: 정병언

발행연도: 2024

저작권: 부산대학교 논문은 저작권에 의해 보호받습니다.

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본 논문은 블루영화를 중심으로 블루가 어떻게 단순한 색채의 차원에 머물지 않고 사회문화적 의미를 담지하는 하나의 구조적 실체로 기능하는가를 이브 클랭의 블루 미학을 바탕으로 분석한다. 블루는 여러 문화권에서 하늘을 지칭하거나 무한이라는 개념과 밀접하게 연관되어 있지만, 영화에서는 무의식적이든 학습에 의한 것이든 슬픔이나 우울과 같은 감정적인 요소를 표현하는 수단으로 기능한다. 영화에서 블루의 의미를 이와 같은 방식으로 접근하는 것은 그 영역이 광범위할 뿐만 아니라 일반론의 오류에 빠지기 쉽다. 본 논문은 장-자크 베넥스의 〈베티 블루 37.2〉, 크쥐시토프 키에슬로프스키의 〈세 가지 색: 블루〉, 데릭 저먼의 〈블루〉에 표현된 블루를 감정을 담아낸 색채의 차원에서 접근하는 대신 그것이 어떻게 재현불가능한 것을 표현해내는 영화적 가능성으로 기능하는가를 밝힌다.
클랭은 블루를 재현불가능한 것을 재현가능케 하는 수단으로 삼았다. 그의 블루는 색채 그 자체로서는 아무런 의미가 없다. 블루가 무언가를 의미할 수 있는 기능을 지녔다면, 그것은 인식불가능의 세계를 담아내고 그것에 대한 우리의 사유를 촉발시키고 있다는 점이다. 회화에서 클랭은 블루를 사용하여 존재와 부재 사이에 존재하는 긴장과 불투명성과 저항성을 드러낸다. 그는 블루를 시각성에만 국한하지 않고 청각의 차원으로까지 확장하여 시공간 너머의 세계를 재창조하는 데 적극적으로 활용했다. 말하자면, 그는 색채의 형식에만 머물러 있던 블루를 무형식 차원으로 바꾸어버렸다. 이를 통해 그는 블루회화로써 기존의 관습적 재현을 거부하고 새로운 반미학의 영역을 개척한 것이다. 그의 블루미학은 블루영화에서 블루의 영화적 가능성을 분석할 수 있는 토대를 마련해주었다.
〈베티 블루 37.2〉, 〈세 가지 색: 블루〉, 그리고 〈블루〉는 모두 제목에 블루가 들어 있다는 점에서 공통점을 지닌다. 이들 영화는 블루에 내재된 철학적 함의를 바탕으로 주체의 형성과정을 반미학적인 방식으로 그려낸다. 다시 말해, 이들 영화는 블루로써 기존의 서사 구조를 해체하고 실재 세계를 환상성의 양식으로 재창조하여 기존의 체제를 해체하는 저항적 주체를 탄생시킨다. 이러한 주체가 욕망하는 재현불가능한 세계를 눈이 아닌 감각으로 지각할 수 있도록 이들 블루영화는 관객으로 하여금 블루의 창조적 의미 생산에 동참하도록 만든다.

This thesis examines the ways in which blue in blue movies transcends the dimension of a simple color and functions as a structured entity with socio-cultural significance on basis of Yves Klein''s blue aesthetics. While blue is often associated with the sky or the concept of infinity in various cultural contexts, in films it serves as a means to express emotional elements such as sadness or melancholy, whether unconsciously or through learned associations. This approach to the meaning of blue in the realm of film is not only broad in scope, but also prone to the fallacy of generalization. Instead of approaching blue as a dimension conveying emotions, this thesis reveals how it functions as a cinematic possibility that expresses the unrepresentable in Jean-Jacques Beineix''s "Betty Blue 37.2," Krzysztof Kieślowski''s "Three Colors: Blue," and Derek Jarman''s "Blue."
Klein considers blue as a means to make the unrepresentable representable. His use of blue suggests that the color itself holds no inherent meaning; rather, its significance lies in triggering our contemplation of the imperceptible world. In his paintings, Klein uses blue to reveal tension, opacity, and resistance existing between presence and absence, extending its influence beyond the visual realm into the auditory dimension, actively recreating a world beyond space and time. In essence, he transforms blue from a formal aspect of color into an intangible dimension. The thesis argues that Klein''s blue aesthetics paved the way for exploring the cinematic potential of blue in films.
The films "Betty Blue 37.2," "Three Colors: Blue," and "Blue" all share a commonality in having the word "Blue" in their titles. These movies depict the process of subject formation based on the philosophical implications of the color blue in an anti-narrative manner. In other words, these films deconstruct conventional narrative structures through the use of blue, reconstructing the tangible world into a form of fantasy, thereby giving rise to a resistant subject that challenges existing norms. In conclusion, these blue films encourage viewers to perceive the unattainable world desired by this subject through senses rather than sight, inviting them to engage in the creative meaning production of blue.

#이브클랭 #블루영화

요약 ·················································································································································· ⅲ I. 서론 ············································································································································· 1
1. 연구의 배경과 목적 ··············································································································· 1
2. 선행연구 검토 ························································································································ 5
3. 연구대상 및 연구방법 ··········································································································· 7
II. 이브 클랭의 재현불가능성의 재현 ······················································································· 11
1. 블루모노크롬과 조형적 태도 ····························································································· 11
2. 침묵의 재현 ·························································································································· 19
3. 예술의 확장과 반미학 ········································································································ 25
III. 환상과 욕망의 해체: 장-자크 베넥스의 〈베티 블루 37.2〉 ··········································· 32
1. 표류하는 주체 ······················································································································ 33
2. 환영과 욕망의 연속성 ········································································································ 37
3. 투쟁과 해체된 관객 ············································································································ 40
IV. 영화적 재현의 거부: 크쥐시토프 키에슬로프스키의 〈세 가지 색: 블루〉 ··················· 44
1. 사건의 재구성을 통한 블루의 재현 ················································································· 45
2. 자유의 역설 ·························································································································· 50
3. 관객의 주체화 ······················································································································ 54
V. 회화적 숭고: 데릭 저먼의 〈블루〉 ························································································ 58
1. 회화와 영화의 확장적 실험성 ··························································································· 59
2. 비물질성의 영화화 ·············································································································· 63
3. 경험의 개별성과 인식의 전환 ··························································································· 66
VI. 결론 ·········································································································································· 71
참고문헌 ········································································································································· 73
Abstract ········································································································································· 76

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