초기 영화이론에서의 비결정적 의미들: 프랑스, 독일, 러시아 이론을 중심으로

Abstract

This paper attempts to look into the nondeterministic senses in Early film theory in the 1920s. Making a comparative study of the concept of photogenie, generated by Jean Epstein, the physiognomy by Bela Balazs, and the zaum by Boris M. Eikhenbaum, it aimed to review how the Early film theorists described the indefinable moment in a film when sensesation consumes the spectator with an overwhelming and indescribably profound intensity. Specifically, it is notable that the nondeterministic sense is the privileged site for the condition of the filmic image, and the Early film theorists often labored to produce a language that would be adequate to this condition. This nondeterministic sense in the filmic image is designed to account for that which is inarticulable, that which exceeds language and hence points to the very essence of cinematic specificity. Against the domestication and rationalization of filmic form in the 1920s, the Early european film theorists try to give an animistic language to the filmic image. They argues that the filmic image with a non-deterministic sense represent the sublime moment individual, personal, and subjective, suggesting that it cannot be defined absolutely or resolved conclusively. They asserts that the most subjective and individual of human manifestations is rendered objective in the filmic image.