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한국사진학회> 한국사진학회지 AURA> 블랙 스완(Black swan)의 상상, 상징, 실재 이미지

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블랙 스완(Black swan)의 상상, 상징, 실재 이미지

The Imaginary, the Symbolic and the Real Images of the Feature Film Black Swan

임찬 ( Chan Lim ) , 김형기 ( Hyung Ki Kim )
  • : 한국사진학회
  • : 한국사진학회지 AURA 27권0호
  • : 연속간행물
  • : 2012년 07월
  • : 193-205(13pages)
피인용수 : 6건

(자료제공: 네이버학술정보)

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Otherness has been an endless artistic expressional theme representing certain periodic paradigms. In Visual art media, especially film, otherness is often transferred to characteristic images in narrative context with various types of repetition and differentiation. As Jacques Lacan suggests in his psychological analysis, “mirror stage”, the first stage is the imaginary where one initiates narcissistic identity by excluding the otherness. The symbolic follows the imaginary enlightening person who comes out of the imaginary successfully only by accepting the social mandatory, so called, language system and law authority. Overcoming the limitless of expressional barrier and consequences of misunderstanding through images with narrative supported with cinematic style reveals imagination over “the imaginary”, symbolic gesture over “the symbolic” and reality once banned by “the real” structure. Darren Arnofski`s latest film  captures the moment of the world within mother who is alienated from what she is and her daughter who is depressed by her mom, “imaginary” by the phenomenal images with inherent narrative and styles. Therefore, he puts an anchor point on the floating differences that might have caused ambiguous literal meaning by “Arnofskian” images along with film`s inherent narrative. Allegorical images of Arnofski are the phenomenal imagination revealing frantic fantasies signifying psychological language of the subject.

UCI(KEPA)

I410-ECN-0102-2013-660-002475771

간행물정보

  • : 예체능분야  > 기타(예체능)
  • : KCI후보
  • :
  • : 반년간
  • : 1228-503x
  • :
  • : 학술지
  • : 연속간행물
  • : 1994-2019
  • : 528


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발행기관 최신논문
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1<밝은 방>에 나타난 사진의 “유토피아적 시간과 낯익음”: 찰스 클리포드의 알함브라(Alhambra) 사진을 중심으로

저자 : 김금녀 ( Kyum Nyeo Kim )

발행기관 : 한국사진학회 간행물 : 한국사진학회지 AURA 27권 0호 발행 연도 : 2012 페이지 : pp. 7-19 (13 pages)

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The purpose of this study is to examine about Utopian time and ``Heimlich`` of Photography. In the pursuit of this purpose, it would be focused on Charles Clifford`s Alhambra(1854) in . I mainly discuss here the photography and text of Chapter 16 at  provides by Roland Barthes` , since the chapter seems one of a new fantasmatic image and intertexts on photo-text. And Barthes provides the essence of the photography that he is awakened the Mother and never the disturbing Mother. When he mentions Utopian time and ``Heimlich`` of the Mother as the essence of photography, he is describing with intertext of Pierre Loti, Blaise Pascal, Charles-Pierre Baudelaire, Sigmund Freud, Jean -and Thibaudeau - Jean-Fran?ois Chevrier`s writings. I consider Barthes delicately presents the fantasmatic image of the Third through the intertexts at photo-text of photography which is his imaginative consciousness. I also explore a paradoxical perspective between Freud`s Unheimlich and Barthe`s Heimlich of the Mother within the intertexts.

2일제강점기 한국사진의 미학적 특수성: 향토색 사진을 중심으로

저자 : 강혜정 ( Hye Jung Kang )

발행기관 : 한국사진학회 간행물 : 한국사진학회지 AURA 27권 0호 발행 연도 : 2012 페이지 : pp. 21-31 (11 pages)

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It is difficult and complicated to conduct research on the aesthetic rules and principles of Korea`s modern photography under the Japanese rule and the approach to the roots of sensibility. Aesthetic forms are intertwined with complex problems that are caused by specific situations of the times. In addition, experiences in real life that follow universal principles are the prerequisite for a world of sensibility. Therefore, even if ``local color`` or ``indigenous color`` that was popular in art during the colonial era is a colonialist discourse manipulated by imperial ideology, it presents a perspective to understand the aesthetic identity of modern photographs. The then interest in indigenous color derives from the difference in attitudes on how to express the local theme and characteristics of Joseon. That was a viewpoint from a particular era and involved an attitude as a way of action showing where we belong. Behind Japan`s pressure for local color are a foreign feel for the colonial Joseon, physiocracy as a means of aggression, and return to Orientalism or Asianism. In this regard, photographs in local color often represented folk subject matters standing for Joseon or peninsular characteristics, or life before the development of civilization, in a lyrical, romantic and naturalist form. In particular, photographs in thick local color reveal clear limitations from a perspective of the spirit of national resistance or overcoming colonialism. Against this backdrop, the photographic images taken during the Japanese occupation illustrate how colonial unconsciousness and aesthetic adaptation are reflected and contextualized.

3청일전쟁 매체사진 연구

저자 : 조대연 ( Dae Yeon Cho )

발행기관 : 한국사진학회 간행물 : 한국사진학회지 AURA 27권 0호 발행 연도 : 2012 페이지 : pp. 33-43 (11 pages)

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This study attempts to find out how photos recording the First Sino-Japanese War reflect the viewpoint of European and American powers in modern Joseon and how Japan`s imperialist values were reflected in the media. Generally, the politcal and social nature of media limits the viewpoint of the photographer because he or she is dependent on the media organization he or she belongs to. About 100 visual materials left from the war were analysed to examine the social images of the late 1800s. In addtion, how the photos were introduced in Japan, China and the West were traced to find out the meaning of these photos. This study examines how photos recording a war, which should be the most realistic, reflect the characteristics of the media organization the photographer belong to as a photographer or animator records visual materials and draws animations like photos. During the Fist Sino-Japanese War, the meaning of photos as a social tool had not yet been put together. Although they understood the importance of recording history the concept of recording had not been esatablished and the recording methods, their importance of differences in information and records existed. Photos were therefore used only as a proof. The value of photo images produced without even realizing the records. This study shows how the violent images of modernization during the Joseon Dynasty were introduced to the European and American powers without filtering.

41950년대 후반 한국 리얼리즘 사진의 시각성: 한영수의 1957년부터 1960년까지의 사진

저자 : 정훈 ( Hoon Jung )

발행기관 : 한국사진학회 간행물 : 한국사진학회지 AURA 27권 0호 발행 연도 : 2012 페이지 : pp. 45-59 (15 pages)

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This paper investigates the visuality on Korean realism photography during late 1950s through the analysis of Han, Young-Soo`s photographs, so that it can open the discourse about the birth of contemporary Korean Photography. For this reason, the purpose of the paper lies not in presenting the concrete conclusion of the visuality on Korean realism photography but in revealing its performative structure. Hence, this paper will focuses on the implications of societal sight and photographer`s vision presented in Han, Young-Soo`s photographs, as well as, on his inclusive and exclusive vision compared to other realism photographers` of the time. Throughout this analysis on his works, invisible cultural phenomena which produced performative subjectivity during late 1950s enlighten us the haziness of modernity and early visual culture in those days in South Korea, wherein lies the re-contextualization of invisible societal fluency as the result of traumatic memory from the past and acculturation at that time.

5기계복제에서 디지털복제로: 발터 벤야민의 “기술복제”개념과 오늘의 양상

저자 : 박평종 ( Pyung Jong Park )

발행기관 : 한국사진학회 간행물 : 한국사진학회지 AURA 27권 0호 발행 연도 : 2012 페이지 : pp. 61-73 (13 pages)

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The purpose of this study is to explain the concept of Walter Benjamin`s technical reproduction and to examine the today`s aspects caused by digital reproduction. Benjamin mention, in , the change of function of art caused by photographic reproduction. But, he does not concretely mention the nature of this reproduction. Therefore, I tried to determine the characteristic of the technical reproduction which cause this change. In the second edition of the article, Benjamin distinguish the second technic from the first technic. The one is similar to the machine that Marx mention in , the other is similar to the instrument. The nature of the machine consist to conquest limit of the work of the human being. Benjamin also mention of the nature of the second technic that minimize the participation of the human being. Finally, this second technic is a mechanical technic, the technical reproduction which cause the change of the art is the mechanical reproduction. By the way, today`s digital technology bring about change once more the nature and the way of reproduction. This new way of reproduction is better than the mechanical reproduction in respect of the quantity, the quality and the speed of reproduction. It also have encouraging elements in respect of the subject of the reproduction and the circulation of the image. We have to observe carefully the change that the digital reproduction will bring about.

6이미지의 아름다움 수준이 우연 기억과 의도된 기억에 미치는 효과

저자 : 정우현 ( Woo Hyun Jung ) , 차한님 ( Han Nim Cha )

발행기관 : 한국사진학회 간행물 : 한국사진학회지 AURA 27권 0호 발행 연도 : 2012 페이지 : pp. 75-82 (8 pages)

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Two experiments were conducted to investigate the impact of the level of beauty according to incidental and intentional memory in fractal images. The level of beauty about fractal images (total 800) was measured about through a preliminary study and then three hundreds fractal images were used to stimuli (high level of beauty images 100, middle 100, low 100). In experiment 1, the effect of the level of beauty was tested in the incidental memory. In experiment 2, the impact of the level of beauty was tested in the intentional memory. At the same time, memory was compared between in simultaneous and sequential presentation procedures. The result of experiment 1, the high level of beauty of fractal images was more remember than middle and low level images. Although not statistically significant, similar tendency was also observed in experiment 2. These results were suggested that memory could be affected by the level of beauty. In the incidental memory tasks, the possibility of correct answers was as low as 36.82%. This means that participants in performing their incidental memory tasks using very strict criteria. The participants were remembered the fractal images very well in the intended memory tasks regardless of stimulation presentation procedure. These results of this study derived from the fractal image, so need to expand the research into other works of art.

7심층 인터뷰를 통한 광고사진의 창의성 분석연구

저자 : 김대욱 ( Dae Wook Kim ) , 이상욱 ( Sang Wook Lee )

발행기관 : 한국사진학회 간행물 : 한국사진학회지 AURA 27권 0호 발행 연도 : 2012 페이지 : pp. 85-97 (13 pages)

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This research is about the concept of creativity in Commercial Photography. Creativity is one of the most important factor in advertisement and there have been a lot of study done about it. In the advertisement field, there are various research being done by classifying creativity as creative field. Therefore, it can be assumed that the creativity in the photographs in the advertisements is important. After in-depth interviews with commercial photographers and professors in the field, they all agree that creativity in commercial photography weighs heavily. There are much research done about techniques, visual image, response from the consumers in commercial photography but not much on creativity. The result of this research is that creativity is as follows: 1. Adjusting the components of the photograph or lighting 2. Incorporating photographer`s imagination and thoughts 3. New concept 4. Innovative expressions 5. Having photographer`s own story in it 6. Having originality 7. Redefining previous images 8. Suitable for concept.

8광고사진에 활용된 시지각 표현 연구: 루돌프 아른하임 이론을 중심으로

저자 : 정동환 ( Dong Hwan Jung )

발행기관 : 한국사진학회 간행물 : 한국사진학회지 AURA 27권 0호 발행 연도 : 2012 페이지 : pp. 99-111 (13 pages)

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This study aims to figure out the formative characteristics reflected into advertising photograph based on Rudolf Arnheim`s visual perception theory (Gestalt psychology, visual thinking, visual perception characteristics) in psychology of art. Although advertising photograph as the aesthetic expression that has been developed for a long time is Rudolf Arnheim`s visual perception theory in psychology of art which has been grown and developed in painting (art work), the entire process of visual perception is general behavior applied to anyone; thus, it may be the theory that is applicable to advertising photograph as well. After subdividing the formative characteristics reflected into advertising photograph into the three items of shape and form, space, and movement, this study drew the following analysis results of each characteristic based on Rudolf Arnheim`s visual perception theory: First, the visual grouping based on the similarity of shape and form expressed in advertising photograph simplifies complex visual stimuli and works as a formative element that can perceive the meaning of a photograph clearly and promptly. Second, the spatiality expressed in advertising photograph is affected by various perceptive conditions and can be felt when the lines of the picture are shown divided. And such things as the exchange of foreground and background and optical illusion work as elements to increase spatiality as affecting the locations of the forms in the advertising photograph and the spatial characteristics around it. Third, the changes of the forms according to the movement and direction of the curves expressed in the advertising photograph work as elements to enhance the kinesthetic sense by intriguing the audience and expressing tension and also changing the locations among all the forms. Rudolf Arnheim`s psychology of artistic approach in advertising photograph would be helpful for the research to express advertising photograph corresponding to human senses in the flood of advertisement in this rapidly changing contemporary society. It is expected that this will help design even more developmental advertising photograph combined with the concentration and psychology of the observer towards the aesthetic responses of advertising photograph afterwards.

9인상주의 회화에 대한 사진의 영향력 연구: 인상주의 인물화를 중심으로

저자 : 장철규 ( Chul Kyu Chang ) , 양종훈 ( Jong Hoon Yang )

발행기관 : 한국사진학회 간행물 : 한국사진학회지 AURA 27권 0호 발행 연도 : 2012 페이지 : pp. 113-129 (17 pages)

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서양 회화사에서 형태와 색채 가운데 무엇을 회화의 본질로 볼 것인가 하는 논쟁은 르네상스 시대 이래로 끊이지 않았다. 시대와 인식의 변화에 따라 반전의 역사를 거듭해온 이 논쟁은 19세기 후반 프랑스 미술계에서 인상주의의 태동과 더불어 색채주의의 승리로 마감되었다. 인상주의자들이 직접 경험한 사진술은 화가들이 더 이상 현실세계의 정확한 재현에 얽매이지 않게 해주었다. 회화에서 현실환영적 공간구성의 유일무이한 수단으로서 원근법이 누리던 권위는 사진술의 등장과 함께 순식간에 붕괴 되었다. 알베르티가 말했듯 원근법은 ``고정된 시점에서 한 눈으로 바라볼 것``을 전제조건으로 삼는데, 그것은 바로 렌즈의 시각이기 때문이다. 광학적 시각은 끊임없이 시선을 움직이며 두 눈으로 사물의 형태와 색감을 인식하는 육안과는 차이가 있다. 원근법은 자연세계에 존재하는 과학적 방법이 아니라 시지각에 관한 하나의 상징체계에 지나지 않았다는 것이 사진의 발명과 함께 드러났다. 현실 재현이라는 굴레를 벗어 던진 인상주의 화가들은 회화 매체의 본질에 주목하게 되었다. 3차원 공간에 구현되는 조각과 달리 그들이 평면성과 색채라는 회화의 본질을 추구하게 된 것은 2차원 평면에 사물을 정확하게 재현하는 사진술이 등장하고부터다. 인상주의자는 어떠한 상징이나 알레고리도 없는 당대의 일상생활을 회화 제재로 삼았다. 르네상스 이후 서양 회화사 초유의 일이었다. 회화를 위한 회화의 시대가 그들로부터 시작되었다. 이는 사진술의 발명 덕분에 생생한 현실의 일상생활에 담긴 아름다움과 가치가 새롭게 조명되었기 때문이다. 사진의 발명은 일상을 바라보는 시선을 바꾸었다. 시간과 공간의 한 접점을 담아낸 사진 속 일상은 전혀 다른 생경함과 기이함을 불러일으켰다. 세계의 모든 모습을 담아내는 사진이 가져온 ``제2의 지리상의 발견``도 인상주의자들로 하여금 자신의 현실에 주목하게 만들었다. 또한 그들의 부르주아적 계급 기반과 휴대용 물감, 교통망의 비약적 발전 등 사회경제적 조건에 힘입어 자신들이 직접 경험한 도시 일상을 회화 제재로 전면화할 수 있었다. 인상주의 화가들의 그림에는 그토록 오랫동안 서양 회화를 지배해온 성서와 신화, 역사적으로 중요한 교훈적인 사건과 이야기가 사라졌다. 정물화 역시 그들의 작품 목록에 오르지 못했다. 그런데 인물화의 경우는 기존 회화의 문법에서 크게 벗어나지 않았다. 즉 대상의 정체성을 확인할 수 있는 형태의 재현이 불가피했던 것이다. 특정 개인을 묘사한 1인 인물화나 수많은 인물을 담은 다중 인물화 모두 사진술의 영향을 크게 받았다. 마네·모네·드가·르누아르 등 인상주의 화가들이 제작한 1인 인물화는 모델에게 오랜 시간 동안 고정된 자세를 취하게 하는 대신 초상사진을 직접적인 자료로 삼았다. 그리고 인상주의 화가들의 다중 인물화는 그림 속에서 살아 있는 인물의 신체 일부분을 절단해 묘사했다. 이러한 기법은 인상주의와 함께 나타난 특이한 표현방식이었다. 신체 절단이 모든 화가들에게서 집단적이고 전면적으로 표현 되었다는 점은 회화의 역사에서 유일무이한 현상이다. 이런 신체 절단의 묘사는 프레임 가장자리에 대상의 일부분만 담기는 렌즈의 광학적 우연성에서 큰 영향을 받았다. 사진술 발명 초기를 함께한 인상주의는 르네상스 이래 서양회화를 지배해온 원칙과 문법을 허물어뜨렸다. 원근법의 해체, 색채와 평면 감의 강조, 회화 제재의 혁신이 전복의 구체적 내용물이다. 그리고 인상주의 이후 불과 한 세대가 지나기도 전에 서양 회화는 무수한 유파들이 나타나 형태의 파괴와 색채의 혁명을 추구하면서 매체의 본질인 평면성에 천착했다. 인상주의가 불러온 서양 회화의 변화는 사진과의 상호 작용에서 배태된 것이며, 모든 변화의 촉발 점은 사진술의 발명이다.

10문화예술교육으로서의 사진교육의 교육과정 연구

저자 : 허현주 ( Hyun Joo Huh ) , 유기상 ( Ki Sang Ryu ) , 현혜연 ( Hye Yeon Hyun )

발행기관 : 한국사진학회 간행물 : 한국사진학회지 AURA 27권 0호 발행 연도 : 2012 페이지 : pp. 131-146 (16 pages)

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초록보기

Since 2010, photography teaching artists selected by Korea Art and Culture Education Service (KACES) have been dispatched to elementary and middle schools across the country, photography education as part of arts and culture education is fast expanding its horizon. Against this backdrop, it is very critical to set the direction for photography education by developing the curriculum framework and accumulating research data. The purpose of this research is to suggest the standards of photography education in the context of arts and culture education and to set the educational expectations according to the learners` ages, school ages, and achievement levels. It will provide a starting, reference point to share experiences and ideas for photography teaching artists in the education field both in and out of school. This research not only suggested the goals and scope of photography education but also specific education targets and expectations according to the learners` ages, school ages and achievement levels. First, the priority of this research was on establishing the overall goals of photography education for the fact that it was urgent to define the complex nature of education and photograph as a medium and set specific targets. The goals of photography education include; 1) understanding of photographic tools and processes, 2) creative expression, 3) understanding of historical, cultural, and social contexts, 4) analysis and evaluation as well as development of responding ability, and 5) integration with other genres and subjects. The scope of activities related to the goals includes; 1) understanding of technology, 2) exploring, 3) creating & performing, and 4) communicating. This research also provided specific education targets and expectations according to the learners` ages, school ages and achievement levels. This research does not explain all aspects of photography education. However we as the researchers hope that it will serve as a starting, reference point for photography education as well as arts and culture education, which is at its beginning.

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주제별 간행물
간행물명 수록권호

KCI등재

미학 예술학 연구
58권 0호 ~ 58권 0호

KCI등재

한국공간디자인학회 논문집
59권 0호 ~ 60권 0호

KCI등재

현대사진영상학회 논문집
22권 1호 ~ 22권 2호

KCI등재

디자인융복합연구
18권 5호 ~ 18권 5호

KCI등재

예술교육연구
17권 3호 ~ 17권 3호

KCI후보

한국사진학회지 AURA
43권 0호 ~ 43권 0호

KCI등재

한국공간디자인학회 논문집
58권 0호 ~ 58권 0호

KCI등재

디자인융복합연구
18권 4호 ~ 18권 4호

KCI후보

연극예술치료연구
10권 0호 ~ 10권 0호

KCI등재

미학 예술학 연구
57권 0호 ~ 57권 0호

KCI등재

한국공간디자인학회 논문집
57권 0호 ~ 57권 0호

KCI등재

예술교육연구
17권 2호 ~ 17권 2호

KCI등재

디자인융복합연구
18권 3호 ~ 18권 3호

KCI등재

예술과 미디어
18권 1호 ~ 18권 1호

예술논집
19권 0호 ~ 19권 0호

KCI등재

한국공간디자인학회 논문집
56권 0호 ~ 56권 0호

KCI등재

디자인융복합연구
18권 2호 ~ 18권 2호

KCI후보

명상심리상담
20권 0호 ~ 20권 0호

공연예술연구
7권 0호 ~ 7권 0호

KCI등재

예술교육연구
17권 1호 ~ 17권 1호
발행기관 최신논문
자료제공: 네이버학술정보
발행기관 최신논문
자료제공: 네이버학술정보

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