본 논문은 포스트-시네마의 조건 속에서 형성된 디지털 이미지의 특징과 함의에 주목한다. 이들은 기억과 역사, 가상과 현실, 비물질과 물질 사이의 불확실성에 질문하는 동시에 매체로서 탈영토화에 직면한 영화를탐구한다. 새로운 시네마의 개념과 조건은 과거의 정의보다 한층 확장하고 변화하여, 관련된 인접 예술과 상호작용하며 포스트-시네마의 상황들과 조우하고 있다. 이와 같은 흐름 속에서 뚜렷하게 감지되는 하나의 경향은 아카이브적 실천을 통한 대안적 역사쓰기이다. 이들은 기존 이미지를 재활용함으로써 인용 및 전용하고, 원본 이미지가 위치했던 최초의맥락과 동떨어져 전혀 다른 의미의 재맥락화를 시도한다. 물론 이와 같은 시도는 영화사에서 완전히 새로운 것이라 볼 수는 없다. 이미 영화는몽타주와 같은 전통적인 영화적 기법을 통해 이질적 성질을 결합 및 절합(articulation)할 수 있는 능력을 구축했을 뿐만 아니라, 과거 아방가르드 실험영화, 다큐멘터리는 파운드 푸티지 기법을 활용하여 과거의 이미지를 현재로 소환함으로써 단일한 역사적 관점에 이의를 제기하고, 개인의 기억과 복수적 역사성에 대한 관심을 정치적 의미에서 실천한 바 있다. 오늘날은 이와 같은 영화적 실천에서 한 걸음 더 나아가, 디지털을기반으로 하는 포스트-시네마 아래에서의 아카이브는 과거 아방가르드작가들의 실험적 시도에 덧붙여 전체가 파악 불가능한 웹(web) 자원 바탕의 이미지를 수집하고 활용한다. 이를 통해 작가는 자신의 통제를 능가하는 작품들을 (재)생산함으로써 지속적으로 움직이는 아카이브의 재창안에 한 걸음 더 다가서는 것이다.
This study looked into the characteristic and implication of digital images formed under the condition of post-cinema. Archive cinema raises a question of uncertainty between memory and history, virtuality and reality, and material and immaterial, and simultaneously presents an exploration of cinema which faces with deterritorialization as a medium. Recently, the concept and condition of cinema have been extended and changed from its definition in the past, and therefore present-day cinema interacts with neighboring arts and encounters with the situation of post-cinema. A distinctive trend detected in this stream is the advent and increase of archive cinema. Archive cinema reuses traditional images by quoting and diverting them, and attempts the re-contextualization of completely different meanings apart from the initial context of original images. This attempt cannot be an entirely new approach in the history of cinema. Cinema already established its ability of combination/articulation of heterogeneous properties through traditional filmic techniques, such as montage, and the avant-garde experimental films and documentaries in the past used the found footage technique and recalled the image of the past to the present, thus raising a question to a single perspective of filmic history and practicing interest in individual’s memories and plural historicalities from a political implication. Taking a step forward from these filmic practices, archive in the times of digital-based post-cinema collects and uses web resource-based images which are impossible to be understood entirely, in addition to avant-garde author’s experimental attempts. By doing so, authors (re)produce works which are beyond their control, thus coming one step near to the reinvention of a continuously moving archive.
This study looked into the characteristic and implication of digital images formed under the condition of post-cinema. Archive cinema raises a question of uncertainty between memory and history, virtuality and reality, and material and immaterial, and simultaneously presents an exploration of cinema which faces with deterritorialization as a medium. Recently, the concept and condition of cinema have been extended and changed from its definition in the past, and therefore present-day cinema interacts with neighboring arts and encounters with the situation of post-cinema. A distinctive trend detected in this stream is the advent and increase of archive cinema. Archive cinema reuses traditional images by quoting and diverting them, and attempts the re-contextualization of completely different meanings apart from the initial context of original images. This attempt cannot be an entirely new approach in the history of cinema. Cinema already established its ability of combination/articulation of heterogeneous properties through traditional filmic techniques, such as montage, and the avant-garde experimental films and documentaries in the past used the found footage technique and recalled the image of the past to the present, thus raising a question to a single perspective of filmic history and practicing interest in individual’s memories and plural historicalities from a political implication. Taking a step forward from these filmic practices, archive in the times of digital-based post-cinema collects and uses web resource-based images which are impossible to be understood entirely, in addition to avant-garde author’s experimental attempts. By doing so, authors (re)produce works which are beyond their control, thus coming one step near to the reinvention of a continuously moving archive.
