디지털 이미지의 대안적 역사쓰기 작업으로서 아카이브 영화

초록

This study looked into the characteristic and implication of digital images formed under the condition of post-cinema. Archive cinema raises a question of uncertainty between memory and history, virtuality and reality, and material and immaterial, and simultaneously presents an exploration of cinema which faces with deterritorialization as a medium. Recently, the concept and condition of cinema have been extended and changed from its definition in the past, and therefore present-day cinema interacts with neighboring arts and encounters with the situation of post-cinema. A distinctive trend detected in this stream is the advent and increase of archive cinema. Archive cinema reuses traditional images by quoting and diverting them, and attempts the re-contextualization of completely different meanings apart from the initial context of original images. This attempt cannot be an entirely new approach in the history of cinema. Cinema already established its ability of combination/articulation of heterogeneous properties through traditional filmic techniques, such as montage, and the avant-garde experimental films and documentaries in the past used the found footage technique and recalled the image of the past to the present, thus raising a question to a single perspective of filmic history and practicing interest in individual’s memories and plural historicalities from a political implication. Taking a step forward from these filmic practices, archive in the times of digital-based post-cinema collects and uses web resource-based images which are impossible to be understood entirely, in addition to avant-garde author’s experimental attempts. By doing so, authors (re)produce works which are beyond their control, thus coming one step near to the reinvention of a continuously moving archive.

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