드론 카메라와 고프로(GoPro) -탈체현적 디지털 카메라와 다큐멘터리의 확장-

초록

This paper discusses the impacts of the drone camera and GopPro as new recording apparatuses afforded by digital technology on the conceptual and aesthetic dimensions of the documentary camera and on the spectatorship of documentary. Considering the traditions of documentary cinema, the technological advancement of recording apparatuses since the introduction of lightweight 16mm cameras has developed the anthropomorphic model of the documentary camera which embodies a cinematographer’s perception. While acknowledging that digital video(DV) cameras and smartphone bulit-in cameras have contribued to proliferating and amplifying the concept of the anthromorphic, embodied camera, this paper argues that the technical features of the drone camera and GoPro allow for a different model of the documentary camera, namely, a disembodied, posthuman camera. Providing the remote-controlled vertical aerial view and targeting its object from a distance, the drone camera activates the digital apparatus’ trancendental gaze that is not totally attributed to the intention of its operator. Moving in accordance with not simply a human body in motion but also any vechile to which it is attached, GoPro is liberated from the traditioal camera’s imperatives to framing and focusing, therefore making it possible to record the posthuman world in which a camera’s body is decentralized and exists equally in things. Drawing on Omer Fast’s 5,000 Feet is the Best (2011) and Sensory Ethnography Lab’s Leviathan (2013), this paper demonstrates the ways in which the disembodied, posthuman vision of the drone camera and GoPro stimulates the viewer’s embodied perception and thereby expands the knowledge of our contemporary world.

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