초기의 영화논쟁 - 문자매체와 영상매체에 대한 논의(영화산업)

목차

1. ‘영화 논쟁’을 보는 관점

2. ‘영화 논쟁’의 발단과 전개

3. ‘영화 논쟁’의 본질 - 문자매체와 영상매체의 대립

4. 논쟁의 부산물 ­ 영화의 의미 확장과 미학적 발전

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nd 1920s the critical confrontation between the traditional arts literature/theatre and the new emerging medium of film took place among intellectuals in european countries. At this period cinema became an object of discussion to the extent that it challenged traditional notions of poetry and culture. The increasing tension between the old and the new medium found expression in a vigorous discourse about the literature/theatre and cinema from the institutional, socio- economical and aesthetic aspects.
This debate about cinema (Kino-Debatte) had been more radically developed in Germany where the high culture of the educated bourgeois (Bildungsb rger) remained still 1920s continously as a dominant cultural mode. The conservative literary intellectuals and theatre journalists/diretors looked down upon the film as 'vulgar, rough and contentless' medium from the viewpoint of classical aesthetics, and they did not recognize the film as art, due to a lack of the spiritual depth based on the 'expression of language'. But the progressive literary intellectuals and theatre artists who noticed the age for 'visual image' coming and peoples' skeptical attitude to the language pointed out in the film various possibilities for visual description and emotional communication, and moreover they emphasized the democratic character of the film as medium for all.
As a result, the cinema－debate offered a broad spectrum of subtly differenciated perspectives on the cinema and a forum in which filmic aesthetic could be discussed im comparison with the aesthetic of the traditional arts. The film as 'metropolis culture' had a socio-cultural meaning in satisfying the desire of the mass for entertainment and escapism from the civilized big cities, and in the german society the film functioned as a counter culture and at the same time a refuge of the uneducated lower class against the elite culture of the intellectuals (Bildungsb rger). From the mid twenties a new artistic theory, the film aesthetic began to influence on modern literary works and theatre performances.
Filmic techniques like montage, leap and recollection, fragmentary composition, and methods for mixing of reality and irreality as well as stimulating visual fantasy, so to say the 'cinema style', were applied in Kafka's works, Alfred D blin's novel 'Berlin Alexanderplatz', expressionist poetries, and film's documentary tendency permeated literary forms like 'reportage', 'functional poetry', and 'documentary drama'. In the productions of Erwin Piscator's political theatre of the 1920s in which emotional involvement of audience in the dramatic processes was hightened through film projections and hereby the solemn distance between the artistic work and the receiver was disappeared. The elimination of this distance as well as the variable point of view belongs to a characteristic of the film aesthetic, as B la Bal zs mentioned in Der Geist des Films (1930): "The gaze of film is the close gaze of participant".

키워드

영화논쟁,   문자매체,   영상매체,   영화산업,   논쟁의 부산물 ­ 영화의 의미 확장과 미학적 발전,   문자매체와 영상매체의 대립