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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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Andy Warhol's films are not only a significant part of his overall artistic output, but are also considered to be among the most critical films in the history of avant-garde and alternative cinema. They mark a major turning point in the preoccupations and techniques of experimental film practice in America and Europe, and their influence is still being felt today.
Warhol's filmmaking career is notorious; even among people who have never seen any of his films that are extremely boring and mundane. they combined mind-boggling length with little on-screen action. Unfortunately, the more extreme examples of Warhol's aesthetic have come to represent, for many, all of his films such as Empire. Sleep, Eat, Haircut, etc. Most notable, and easiest to generalize, is Warhol's use of the extreme long take: tuming the camera on, and letting it run until an entire magazine of film had been exposed with minimal action. His early films completely disregard cinematic conventions common to Hollywood movies, and have much stronger relationship to his prints and paintings. The films usually show an image, still or barely moving, which, though we are forced to study it, offers us little inspiration. The films, in fact, describe situations so banal that watching them seems a waste of time and energy.
Typical example of his early films is Sleep (1963), in which a six-hour study of a slumbering man conveyed via a virtually stationary camera. Sleep is not so much "watched" as it is "experienced." Eat (1963) is the film in which forty-five minutes of the eating of a mushroom. The film is about watching somebody eating. How much is actually eaten at anyone point of time is irrelevant. The focus is on the image and not the narrative.
It was a conscious attempt to apply the minimalist aesthetic that is progressively emerging in the visual arts. But whatever the motivation for it, Warhol's minimal style was prominent in his early films. The world of Avant-garde film saw Warhol as an artist carefully exploring novel stylistic devices. Critics immediately interpreted his early films With the anti-illusion aesthetic. Jonas Mekas also saw Warhol as a relative of 'Cinema verite' and described his films as good example of realistic works.
Indeed Warhol had explored the properties of the film medium-especially duration, The main basis of illusion in cinema stems from the manipulation of time and space relationship between shots. His early films are dearly ami-illusionist in that they refused to compress time through editing 'This new awareness of 111m' s primary dimension, that of time, can be seen as equivalent to the abandonment of deep, illusory perspective in painting. in favor of a shallow picture space. directly relatable to the material nature of the actual canvas surface." Early Warhol films establish a shallow time that permits a credible relationship between the lime of interior action and the physical experience of the film as a material presentation, This is Warhol's most significant innovation.
Andy Warhol's films are still important because they influenced two kinds of cinema: Hollywood absorbed their street-life realism, their sexual explicitness and on-tile-edge performances; the avant-garde reworked his long-take, fixed-camera aesthetic into what came to be known as structural film. Warhol called into question me very process of filmmaking, of what a movie was.
Warhol's filmmaking career is notorious; even among people who have never seen any of his films that are extremely boring and mundane. they combined mind-boggling length with little on-screen action. Unfortunately, the more extreme examples of Warhol's aesthetic have come to represent, for many, all of his films such as Empire. Sleep, Eat, Haircut, etc. Most notable, and easiest to generalize, is Warhol's use of the extreme long take: tuming the camera on, and letting it run until an entire magazine of film had been exposed with minimal action. His early films completely disregard cinematic conventions common to Hollywood movies, and have much stronger relationship to his prints and paintings. The films usually show an image, still or barely moving, which, though we are forced to study it, offers us little inspiration. The films, in fact, describe situations so banal that watching them seems a waste of time and energy.
Typical example of his early films is Sleep (1963), in which a six-hour study of a slumbering man conveyed via a virtually stationary camera. Sleep is not so much "watched" as it is "experienced." Eat (1963) is the film in which forty-five minutes of the eating of a mushroom. The film is about watching somebody eating. How much is actually eaten at anyone point of time is irrelevant. The focus is on the image and not the narrative.
It was a conscious attempt to apply the minimalist aesthetic that is progressively emerging in the visual arts. But whatever the motivation for it, Warhol's minimal style was prominent in his early films. The world of Avant-garde film saw Warhol as an artist carefully exploring novel stylistic devices. Critics immediately interpreted his early films With the anti-illusion aesthetic. Jonas Mekas also saw Warhol as a relative of 'Cinema verite' and described his films as good example of realistic works.
Indeed Warhol had explored the properties of the film medium-especially duration, The main basis of illusion in cinema stems from the manipulation of time and space relationship between shots. His early films are dearly ami-illusionist in that they refused to compress time through editing 'This new awareness of 111m' s primary dimension, that of time, can be seen as equivalent to the abandonment of deep, illusory perspective in painting. in favor of a shallow picture space. directly relatable to the material nature of the actual canvas surface." Early Warhol films establish a shallow time that permits a credible relationship between the lime of interior action and the physical experience of the film as a material presentation, This is Warhol's most significant innovation.
Andy Warhol's films are still important because they influenced two kinds of cinema: Hollywood absorbed their street-life realism, their sexual explicitness and on-tile-edge performances; the avant-garde reworked his long-take, fixed-camera aesthetic into what came to be known as structural film. Warhol called into question me very process of filmmaking, of what a movie was.
목차
1. 들어가는 말
2. 팝 아트와 앤디 워홀
3. 미니멀리즘과 앤디 워홀
4. 앤디 워홀의 영화적 수사
5. 앤디 워홀의 영화와 사실주의의 전복
6. 맺는말
참고문헌
Abstract
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