A Study on the Formation Process and Presence Method of Korean Experimental Film Genre
The ancient Silk Road is not just a name for a simple road, but a kind of concept in a time when East and West interchange, struggle or harmonize. Likewise, exper ...
A Study on the Formation Process and Presence Method of Korean Experimental Film Genre
The ancient Silk Road is not just a name for a simple road, but a kind of concept in a time when East and West interchange, struggle or harmonize. Likewise, experimental film is a concept and idea that encompasses all the cinematic practices and the temporal vision that contain experimental spirit, not just one film genre. In this study, I will examine the terrain where the film, representing the recordability, and the performance form representing the improvisation and the one-time performance meet, through the early Korean experimental film. First of all, I tried to clarify the characteristics of genre and time experiment of Korean experimental film, which has been going on with a clear footprint to date, through Western experimental film theories, and how performance has played an important role in the formation of genre as experimental practice of modern art act Look at what kind and class of performances were borrowed by early Korean experimental filmmakers. Through this, we will grasp the identity of the genre that penetrates the early experimental film in Korea and present the form of performance as one of the main experimental concepts of early experimental film in Korea. In addition, it demonstrates that the performance form has made a great contribution to the way of presenting Korean experimental films and the expression of genre form.
As the starting point of the detailed study, I define the definition and category of Korean experimental film and explore the time experiment which is the basis of the experiment. In order to explore the genre characteristics of the experimental film, it distinguishes genre, experiment, and avant - garde from previous studies. It accepts two theories of avant-garde film theory of Peter Ullen and divides it into the type of European modernism and the experimental film of North American structuralism, and embodies the genre ecosystem by responding to early Korean experimental films. The main research methodology follows the discussion of Ransiere and Bergson with several avant-garde theorists. It is a way to look at what works stand out in the foreground by putting them on one and the same stage rather than dividing and dividing the time and works of study in a historical and linear way. This is a genre, as experimental films and avant-garde films are always ongoing, and the distinction between past and present is meaningless. Finally, in order to examine the performance form borrowed from the early Korean experimental film, it examines the non-narrative, subversive, and extended movie types that represent the major experimental forms of experimental films, . The two types of performances, cinema performance and performance cinema type, are used as the classification criteria for early Korean experimental films.
The main problem consciousness is to identify the types of the first early Korean experimental film works and position them as appropriate experimental film genres. For this purpose, we first set up the period of early Korean experimental movie, and find out the corresponding works and analyze the genre and time experiment type of works. Secondly, we will focus on how the performance type experiment is borrowed from each experimental film. The two types of media performance mentioned above are explored in the form aesthetics.
The results of the study are as follows. Early Korean experimental film works can be classified into European modernism series and North American structural film series according to their content, format and time experiment type. 1) Cinema Performance 2) Performance Cinema Respectively. The former has works such as Kino-Drama: The Righteous Voodoo, Absolute Film, Pure Film: Kaedu Club, Cinema Performance: The Celestial Film, and Cine-Poem: There are <Hand>, <Chunmoon>, <Another Room> Underground Cinema: <1/24 second meaning, <Soldier's Festival> Surrealism: <Between morning and evening>. Through the above works, I clearly confirm that the performance form was a very important formal basis for forming and institutionalizing the early Korean experimental film genre, and for raising the level of creative work. Henri Poshi's work was divided into Experimental, Classic, Refinement, and Baroque. Based on this analysis, the early Korean experiments (1919 ~ 1979) The film concludes that it was a stage of experimenting with various times, genres and performance styles. Ultimately, the early Korean experimental film is composed of DNA, pansori, and yard play, which is a picture stimulus that has been performed from ancient times. It can be generalized that it forms the basis of the genre.
However, this paper has three limitations as follows. First, I did not expand my research from performance to essential space concepts. Secondly, I could not understand the position of the experimental film in the film. It did not cover the achievement of the third generation of video works. Advantages will continue with this study in future studies.