다큐멘터리의 확장된 디스포지티프: 동시대 다큐멘터리 설치작품과 이주 및 재분배 작용

초록

This paper characterizes documentary moving image installations produced and exhibited globally since the 1990s as documentary’s ‘expanded dispositif,’ while also theorizing their aesthetic and technical strategies and their viewers’ experiences in terms of the ideas of ‘relocation’ and ‘redistribution.’ Developed from the ideas of Thomas Elsaesser, Raymond Bellour, and Adrian Martin, documentary’s ‘expanded dispositif’ refers to the installations’ arrangement of heterogeneous technical and aesthetic elements, which results in the various moving image expressions that are linked to the theater-based standardized documentary cinema but at the same time not totally identical to it. The concept of relocation, originally coined by Francesco Casetti, points to the double operation of documentary installations through which some elements of the standardized documentary cinema are maintained while other material, technical, and spectatorial elements inherent in the installations are added. The idea of redistribution, derived from Jacques Rancière’s concept of the ‘distribution of the sensible,’ refers to the ways in which the material, technical, and architectural elements of documentary installations, including their screens, exhibition space, and audiovisual devices, transform and rearrange not simply the system of distinguishing fact and fiction in documentary cinema but also its formal, sensory, and rhetorical components. Investigating an array of artworks, this paper illuminates how the operations of dislocation and redistribution are applied to the modes of documentary practice, its audiovisual elements, and its themes such as migration and diaspora.

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