영화적 공간의 확장에 대한 연구

A Study on the Expansion of Cinematic Space: focused on Experimental film

The question that I wish to address in this study is how we can understand experimental films, given that they are highly subjective and non-narrative forms. Many experimental films lack an identifiable plot or theme. By using space as a mode of analysis, we are at the least able to give some order to the often confusing form and content. I selected some important experimental films to evaluate and tried to see how these works were able to expand their limits that cinema originally has in itself. First, I examined a aspect of expansion of filmic space through relationships between on-screen and off-screen space. Ken Jacobs's <Blond Cobra>(1962), George Landow's <Film in which There Appears Sprocket Holes, Edge Lettering, Dust Particles, Etc.>(1965–66) show how the film maker utilized cinematic space. They are attempts to ask the relationship between on-screen space and off-screen space and expand the space of a frame while still remaining within its rectangular borders. Michael Snow's <Wavelength> can be the archetypal film in this articulation of spatial distance. It moves beyond a pure analysis of the room's space to considerations of filmic space and the illusions that constitute it. <Wavelength> examines space as, in part, a condition of depth and perspective. Another strategy of the avant-garde has been to use a flattened form of film space. In order to explore these features, I analyzed Stan Brakhage and Ed Emshwiller's works. One of the most exciting development in the creation of a unique cinematic space lies in the use of the re­photography process using optical printer. Bruce Baille's <Castro Street> is a classical example of a film utilizing the refilming process to create a unique filmic space. The films that expanded the possibilities of film aesthetics tend to question and reconfigure the relationship between the camera and its subject. Any critical experimental films tried to explore how film apparatus­finite, two­dimensional, enclosing­confronts space-infinite, three­dimensional, continuous. Thus an examination of films whose subject is principally the depiction of space will be examination of how those films foreground the contradictory nature of their encounter with their subject. From this perspective, I studied some Avant-garde films­William Raban, <Angles of Incidence>(1973), Guy Sherwin, <Canon>(2001),Bruce Baillie, <All My Life>(1966)과 <Sculptures for a Windless Space>(1995), Peter Gidal, <Room Film>(1973)­ that deals with depiction of place. Finally Filmic space in experimental film is a result of the dialectics of self and world from the perceptual distance. Beyond considerations of technique or composition, the critical nexus of Avant-garde film is how the artist spatializes the imagery of his or her inner world.