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Deleuze's Movement-images and Digital Aesthetics

  • The Journal of Aesthetics and Science of Art
  • Abbr : JASA
  • 2017, 50(), pp.73-100
  • DOI : 10.17527/JASA.50.0.03
  • Publisher : 한국미학예술학회
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Published : February 28, 2017

Jeong, Heon 1

1중부대학교

Accredited

ABSTRACT

This article explores Deleuzian concepts of the movement-image in terms of the aesthetics of digital cinema. For Deleuze, the cinema is not the mimesis and representation of material reality but the rhizomatic assemblage of virtual reality. The Deleuzian philosophy of cinematic virtuality expands to the digital aesthetics of computer simulation and synthesis. First, this paper investigates Deleuze's movement-images in the logic of the materiality and sensation. The movement-image is a dynamic traverse and genesis of light, color, and sound. Digital cinema intensifies the materiality of the movement-image in the level of computer data and pixels. It presents the new form of movement-images based on digital synthesis and collage. Moreover, Deleuzian aeshtetics of cinema is closely associated with the spectator's sensation of the materiality of movement-images. Deleuze argues that the movement-image combines with the spectator's sensation and perceptive reception of material images. Digital technology expands the role of bodily sensation and perception in the process of cinematic production and consumption. The aesthetics of digital cinema proceeds to the aesthetics of interactivity between screen and spectator. Consequently, this article emphasizes that Deleuze's concept of movement-images gives rise to a spiritual automaton through the interaction of material images and spectators. Digital technology strengthens the affection and pathos of material images, and the spectacle and attraction of spectators. The movement-image of digital cinema brings about the new forms of cinematic attraction relied on synthetic image, bodily sensation, and spiritual virtuality.

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