영화 이미지와 포토제니 - 장 엡스탱의 이론을 중심으로

Abstract

This paper intends to look into the concept of photogenie which is generated by Jean Epstein, one of the French film theorists in the 1920s. Trying to define the meaning of photogenie, Epstein describes it as the 'moral character of every mobile and personal aspects of the world, beings or souls that are enhanced by filmic reproduction'. Photogenie is designed to account for that which is inarticulable, that which exceeds language and hence points to the very essence of cinematic specificity. It names a supplementarity, an enhancement, that which is added to an object in the process of its subjection to a photographic medium. Jean Epstein's theory of photogenie closely endorses this idea especially as he seems more concerned with the image rather than with dialogue or sound. Photogenic represent also that indefinable moment in a film when sensation consumes the spectator with an overwhelming and indescribably profound intensity. The sublime moment is individual, personal, and subjective, suggesting that it cannot be defined absolutely or resolved conclusively. Specifically, it is notable that the close-up is the privileged site for this experience of photogenic; and Epstein often labored to produce a language that would be adequate to this experience. The overriding effect of this experience is the inability to verbalise or rationalise the encounter with any certitude. In a similar spirit, Bela Balazs is focusing on the power of the physiognomy that could apply to the movement of the close-up.