디스포지티브적 측면에서 본 <텐(Ten)>(2002)의 우연적 리얼리티

초록

This paper deals with the process of dispositif in reflecting the author’s tendency and the role of contingency in narrative structure and reality in <Ten> (Abbas Kiarostami). A camera mounted in a moving car interior automatically records ten small episodes and the actors act improvisingly as if playing a game according to the rules. As a result, fragments of cracks appear in the film that show the contingency, and through this, the reality of the film appears. The sequence of episodes introducing heterogeneity did not constitute the whole story in an integrated way. Instead, the film takes the form of advancing the narrative time for each episode through the many dialogues of characters. Dispositif of this film that creates its own reality is camera placed in the car and improvisation of actors. Sharing the similarities of uncomfortable views of everyday life with reality TV, this film allows us newly discover the reality. Unlikely the way in which director creates fictional reality, Kiarostami has tried to reveal reality in the cracks through the repetition and variation of the patterns. The reality of this film is not something to show up as a fact. It is closely related to the actual events and brings the reality of Iranian women’s social situation into perspective. The reason for sticking to this approach is to see the truth in a new way through dispositif. In short, cineast invented patterns and changes them to create accidental bits. As a result, these bits give the audience a sense of reality and allow the audience to actively interpret it while sympathizing with the social situation of Iranian women.

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