영화적 비디오 설치작품에서 영화와 비디오의 혼종화

초록

Numerous artists and established filmmakers since the 1990s have extensively used video technologies to draw on and manipulate cinematic image and narrative, such that their works explore the sensorial and mnemonic power of cinema as an art of spectacle and how influential and global cinema was in shaping their memories and artistic ideas. This paper characterizes these works as “cinematic video installations”, analyzing the ways in which the medial components of film and video are correlated. Providing a critical remapping of how cinematic video installations have been discussed in both the discourses of post-cinema and those of contemporary art, I argue that cinematic video installations must be viewed as a complex hybridization of cinematic and video-based technologies. To demonstrate this, I identify in this paper spatialization (materializing the spectatorial experience of the film image, montage, and narrative in the theatrical or architectural forms of screen-related apparatuses) and temporalization (manipulating the time of the image by means of digital video’s capacities) as two key operations that video technologies execute in adopting and altering the components and historical traces of cinema. By performing formal analysis of the installation pieces by several artists and filmmakers such as Harun Farocki, Kutluğ Ataman, Doug Aitken, Douglas Gordon, and Candice Breitz, I demonstrate that the ambiguous cohabitation of cinematic and video-based specificities occurs not only in the domain of the image space, but also in the formation of the apparatus that frames the image and determines the viewer's relation to the image.

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