Two World Pictures, Digital Techne

Sunah Kim

The Journal of Aesthetics and Science of Art

Abbr : JASA
2011, 34(), pp.57-77
Publisher : 한국미학예술학회
Research Area : Other Arts and Kinesiology

Sunah Kim ¹

¹ 단국대학교

ABSTRACT

This article examines the new cinematic tendencies and aesthetic manners toward the world pictures represented on screen after the advent of digital technologies and attempts to outline two world pictures, in Heideggerian terms: the uncanny and the marvelous. The first tendency, the uncanny picture, appears in some transnational films: What Time Is It There?, The World, Tropical Malady and Hidden. These uncanny films are immanent of a certain tendency to consider cinema as a kind of malfunctioned memory-machine to reveal the incommensurability among the real, daydream, and memory; ancient myths; the past and the present; history and memory; media’s memories and human's experiences; and so on. The second tendency, the marvelous picture, may be seen in the global films made in Hollywood along with a development of 3D animation: Toy Story, Matrix, Inception and Avatar. In these films traditional cinema becomes live-action film, one layer of the materials used for digital composition. Techne, in Heideggerian terms, is displaced in these digital films where meta-physics becomes physics itself as well as poiesis. Cinema is liberated from human's eye and body and makes the movement and speed vivid and marvelous. Techne of digital technology achieves its own singular poiesis, that is, not only meta-physics but also artistic aura through the compression and reproduction of digital datum. As a result, it is the unprecedented world pictures that appears into the digit technoculture and cinematic tendencies are diverged into the uncanny picture and the marvelous picture.
KEYWORDS

Digital Technology , Techne , Digital Cinema , World Picture , Kuleshov Effect , Ganzfeld Effect , the Uncanny , Transnational Films
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