디지털 특수효과로서 카메라 무브먼트(movement)에대한 고찰

A Study on Camera Movement as a Digital Special Effect

This article proposes that digital camera movement relates cinematicexperience to non-optical perception in a unique way. To do this, threeexample-<Wanted>, <Fight Club>, <300> will be examined in eachdifferent three perspectives. Three topics are as follows: ballistic vision,non-material ghost, ‘picnolepsy’. Specially I would like to argue that howcamera movement cause trouble to Stephen Prince‘ perceptual realism. Digital camera is defined as a discoursive construct for understandingof moving image. The entity of the camera becomes not an apparatus ofmoving image capture but rather a spatially specific vanishing point ofperception and moving image frame. Usually, the flying sequence is supposed to offers a feeling of visualmastery of space. But it turn the visual regime based on seeing to feelingof being with movement. Because optical camera capture real object inthe world but digital camera creates the movement itself. Digital camera movement enable the cinema to shows non-real andnon-human vision by virtue of advanced technology. Digital cameraprovides a ghost-like eye and non-material movement which is free fromgravity and physical law. Close up is very prominent characteristic ofthese vision. It is possible that the cinematic experience go beyond visualperception to the haptic experience. Immaterial movement with close upshot could be interpreted as both attachment to ‘the Real’ and keepingdistance from it. Flamboyant effect of digital camera movement is thedigital zoom. The abrupt zooms give the shot a hyper-kinetic quality, aherky-jerky, spasmodic energy. To use virilio’ s term, it is like picnolepsy. To conclude, digital camera movement achieves more than merelyenhancing the film’s perceptual realism. It also reflects on wider questionabout how we engage with cinema and the nature of our experience ofthe visual and movement.