마술적 리얼리즘과 네그리의 예술론: 끌레어 드니의 영화 <금요일 밤>에 비추어

@article{ART001863417},
author={ 최수임 },
title={마술적 리얼리즘과 네그리의 예술론: 끌레어 드니의 영화 <금요일 밤>에 비추어},
journal={비교문화연구},
issn={1598-0685},
year={2014},
volume={34},
pages={7-41},
doi={10.21049/ccs.2014.34..7},
url={http://dx.doi.org/10.21049/ccs.2014.34..7}

TY - JOUR
AU - 최수임
TI - 마술적 리얼리즘과 네그리의 예술론: 끌레어 드니의 영화 <금요일 밤>에 비추어
T2 - 비교문화연구
PY - 2014
VL - 34
IS -
PB - 경희대학교(국제캠퍼스) 비교문화연구소
SP - 7-41
SN - 1598-0685
AB - This article examines magical realism in contemporary european film, whichis considered to be one of the most popular styles in the present culture, withregards to Antonio Negri’s theory of art. Magical realism is “alternative approach to reality” (Maggie Ann Bowers,Magic(al) Realism) and defined as “a fictional technique that combines fantasywith raw physical reality or social reality in a search for truth beyond thatavailable from the surface of everyday life” (Joan Mellen, Magic Realism). Theterm of Magic Realism was coined in 1923 by Franz Roh, German art historian,as the concept for the post-expressionist painting in Germany. It has flourishedin the Latin-American literature during the 1950s to 1980s and spreadworldwide. Since 1980s magical realism is considered to be a universal artisticmode. Since 1990s magical realism is to find in the various novels, and since2000 one encounters magical realism in the cinema very often. Antonio Negri writes about the relationship between life, imagination, art andthe political in his book Art et Multitude. According to Negri, the hard life ofpeople in the present society liberates the imagination and this creates the artas “the excess of the existence”. In this process the aesthetic becomes to thepolitical. Negri calls this space of art as “magical time and space”. Claire Denis’ film Vendredi Soir is analyzed as a contemporary magic realisttext, which realizes Negri's concept of art: vendredi soir (friday night) inVendredi Soir is the magical time, when the impossible becomes the possible,and paris in the public transportation strike is the magical space, where theindividuals meet the other in a new situation. The film analysis associates itselfwith Negri’s theory of art: in Vendredi Soir, it is to see, that the excess of theexistence liberates imagination and creates the magic reality both in themovements of things and the human relationship. The phenomenon of magical realism in contemporary culture can be understoodas the symptom of the emotional and existential pains of contemporary peoplein the current world. The contemporaneity of the magical realism can be readin the film as "the metaphor for contemporary thought" (Alain Badiou, Cinema). As Antonio Negri writes, art can become “the aesthetic redemption” (Negri, Artet Multitude) for us. At the same time “(t)his is where aesthetics can be transformedinto the political.” (Lee, "Communism and the Void")
KW - 마술적 리얼리즘, 안또니오 네그리, 예술론, 마술적 시공간, 상상력의 해방
DO - 10.21049/ccs.2014.34..7
UR - http://dx.doi.org/10.21049/ccs.2014.34..7
ER -

최수임 (2014). 마술적 리얼리즘과 네그리의 예술론: 끌레어 드니의 영화 <금요일 밤>에 비추어. 비교문화연구, 34, 7- 41.

최수임 . 2014, “마술적 리얼리즘과 네그리의 예술론: 끌레어 드니의 영화 <금요일 밤>에 비추어”, 비교문화연구, vol. 34, pp. 7-41. Available from: doi:10.21049/ccs.2014.34..7

최수임 “마술적 리얼리즘과 네그리의 예술론: 끌레어 드니의 영화 <금요일 밤>에 비추어” 비교문화연구 34 pp. 7-41 (2014): 7.

최수임 . 마술적 리얼리즘과 네그리의 예술론: 끌레어 드니의 영화 <금요일 밤>에 비추어 비교문화연구 [Internet]. 2014; 34 : 7-41. Available from: doi:10.21049/ccs.2014.34..7

최수임 . “마술적 리얼리즘과 네그리의 예술론: 끌레어 드니의 영화 <금요일 밤>에 비추어” 비교문화연구 34 (2014): 7-41. doi: 10.21049/ccs.2014.34..7

홈 권호 목록 논문 목록 논문 상세

마술적 리얼리즘과 네그리의 예술론: 끌레어 드니의 영화 <금요일 밤>에 비추어

비교문화연구

약어 : -

2014, vol.34, pp.7 - 41

DOI : 10.21049/ccs.2014.34..7

발행기관 : 경희대학교(국제캠퍼스) 비교문화연구소

연구분야 : 문학

최수임¹

¹우송대학교

인용한 논문 수 : 4 서지 간략 보기

초록

This article examines magical realism in contemporary european film, whichis considered to be one of the most popular styles in the present culture, withregards to Antonio Negri’s theory of art. Magical realism is “alternative approach to reality” (Maggie Ann Bowers,Magic(al) Realism) and defined as “a fictional technique that combines fantasywith raw physical reality or social reality in a search for truth beyond thatavailable from the surface of everyday life” (Joan Mellen, Magic Realism). Theterm of Magic Realism was coined in 1923 by Franz Roh, German art historian,as the concept for the post-expressionist painting in Germany. It has flourishedin the Latin-American literature during the 1950s to 1980s and spreadworldwide. Since 1980s magical realism is considered to be a universal artisticmode. Since 1990s magical realism is to find in the various novels, and since2000 one encounters magical realism in the cinema very often. Antonio Negri writes about the relationship between life, imagination, art andthe political in his book Art et Multitude. According to Negri, the hard life ofpeople in the present society liberates the imagination and this creates the artas “the excess of the existence”. In this process the aesthetic becomes to thepolitical. Negri calls this space of art as “magical time and space”. Claire Denis’ film Vendredi Soir is analyzed as a contemporary magic realisttext, which realizes Negri's concept of art: vendredi soir (friday night) inVendredi Soir is the magical time, when the impossible becomes the possible,and paris in the public transportation strike is the magical space, where theindividuals meet the other in a new situation. The film analysis associates itselfwith Negri’s theory of art: in Vendredi Soir, it is to see, that the excess of theexistence liberates imagination and creates the magic reality both in themovements of things and the human relationship. The phenomenon of magical realism in contemporary culture can be understoodas the symptom of the emotional and existential pains of contemporary peoplein the current world. The contemporaneity of the magical realism can be readin the film as "the metaphor for contemporary thought" (Alain Badiou, Cinema). As Antonio Negri writes, art can become “the aesthetic redemption” (Negri, Artet Multitude) for us. At the same time “(t)his is where aesthetics can be transformedinto the political.” (Lee, "Communism and the Void")

키워드

마술적 리얼리즘, 안또니오 네그리, 예술론, 마술적 시공간, 상상력의 해방

참고문헌(23)

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[단행본] 안토니오 네그리 / 2014 / 공통체 / 사월의책
[단행본] 앤디 메리필드 / 2013 / 마술적 마르크스주의 / 책읽는수요일
[학술지] 이택광 / 2009 / 예술은 어떻게 ‘정치적인 것’일 수 있는가 네그리의 예술론에 대하여 / 안과밖:영미문학연구 (26) : 163 ~ 178
[학술지] 최수임 / 2013 / 마술로서의 영화-2000년대 영화의 마술적 리얼리티. <내적 안정>과<남아있는 시간>을 중심으로- / 현대영화연구 9 (2) : 5 ~ 29
[단행본] BADIOU, Alain / 2013 / Cinema / Polity Press
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[기타] DENIS, Claire / 2002 / Vendredi Soir
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[단행본] HEGERFELDT, Anne C. / 2005 / Lies that Tell the Truth. Magic Realism Seen through Contemporary Fiction from Britain / Rodopi
[학술지] JAMESON, Fredric / On Magic Realism in Film / Critical Inquiry 12 (2) : 301 ~ 325
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[단행본] JOYCE, James / 1956 / Part of the first draft of “A Portrait of the Artist as a Young Man” / Jonathan Cape
[기타] LEE, Alex Taek-Gwang / 2013 / Communism and the Void
[인터넷자료] MARTIN, Adrian / Ticket to ride: Claire Denis and the cinema of the body
[단행본] McMAHON, Laura / 2012 / Cinema and Contact: The Withdrawal of Touch in Nancy, Bresson, Duras and Denis / Legenda
[단행본] MELLEN, Joan / 2000 / Magic Realism / Gale
[단행본] MERRIFIELD, Andy / 2011 / Magical Marxism: Subversive Politics and the Imagination / Pluto Press
[단행본] NANCY, Jean-Luc / 1997 / The Sense of the World / The University of Minnesota Press
[단행본] NANCY, Jean-Luc / 2008 / Corpus / Fordham University Press
[단행본] RANCIÈRE, Jacques / 2004 / The Politics of Aesthetics / Bloomsbury
[학술지] ROH, Franz / 1923 / Zur Interpretation Karl Haiders. Eine Bemerkung auch zum Nachexpressionismus / Der Cicerone. Halbmonatsschrift für Künstler, Kunstfreunde und Sammler 15 : 598 ~ 602
[단행본] SCHEFFEL, Michael / 1990 / Die Geschichte eines Begriffes und ein Versuch seiner Bestimmung / Stauffenburg Verlag