MATERIALISM AND BEYOND LEE HANGJUN'S EXPANDED CINEMA

초록

Though the defining feature of so-called Structural films was exploration of film's material components and technical processes with the flicker effect, loop printing, and re-photography, Lee's corpus of films, performances, and installations is more faithful to what Malcolm Le Grice has characterized as a "broad formal tendency" of the US and European avant-garde cinema in the 1960s and 1970s to share such concerns as "celluloid as material, the projection as event, [and] duration as a concrete dimension. Lee's found footage works, however, originate from his idea that this characterization is not the only way of dealing with and defining found footage in the history of experimental cinema.\n All versions of Phantom Schoolgirl Army commonly present traces of people captured in portraits as well as the chemical and physical decay on portrait surfaces in the form of intensive flicker effects created by the rapid alterations of picture frames and black-and-white frames, coupled with those of black-and-white circles and rectangles.

키워드