Earticle

초록

영어

Since the debate between Lukacs and Brecht in the 1930s and Brecht's triumphant entry into the 1970s, "the era of political modernism" in film studies, many theorists have stood in with the Brechitian camp of modernism and disclaimed the realist narrative structure with homogeneous beginning and ending. For it has been assumed that the realist narrative structure would position a bourgeois subject and therefore bind the spectator-subject into an illusionistic or ideological discourse with its causal logic. Stephen Heath is one of those theorists, who refutes coherence, closure, and linear or chronological order of narratives as being regressive and absorbing, thus retroactive, but upholds fractured, digressive, and open narratives as being progressive and estranging, thus emancipatory. Concerning Heath's narrative theory as such, we want to note his criticism against the classic Hollywood narrative and the corresponding conception of repetition. Heath's notion of repetition in narrativization is very remarkable because it indicates the palimpsest narrative structure in alternative films which contributes to disperse the narrational coherence, but at the same time it also designates the detailing constructing strategy of classic narrative cinema. Heath tends to assume that the classic narrative produces a passive subject, on the contrary, the repetitive narrative produces an active subject. Is this position appropriate and plausible? Making attempt to answer this question, this writing tries to reconsider the political stain on the realist narrative and think of another possibility of and the reason for using it for the progressive object truly 영상예술연구_ 5호 freed from any kind of text-based formalism. In order to examine the meaning and role of subjectivity in Heath's theory, this writing recapitulate Heath's anti-realist narrative theory and its strategy of the narrational repetition first. In so doing, it would look closely at some of his conceptions like memory-spectacle, performance of the subject-spectator, the novelistic, and the opposite functions of repetition as death drive or as pleasure principle in narrativization. The critical point against Heath's realist theory is that, ultimately, he cannot help ending up with a very small number of anti-realist avant-garde films which does not belong to classical Hollywood cinema nor structural/materialist films. Then it moves on to criticising Heath's theoretical framework by pointing out its Stoicist and formalist aspects and showing out the resistant potentials of the classic narrative and its utopian effect. And this whole critical process would reinstate the significance of propositional content and highlight the different and/or resistant availability of conventional narrative structuration, namely classical Hollywood narrative.

목차

1. 서론
 2. 지루함의 옹호: 히스의 反리얼리즘적 내러티브 이론
  1) 내러티브화와 주체-관객의 수행
  2) ‘소설적인 것’ 과 고전적 내러티브 영화
  3) 대안적 내러티브에서 죽음 충동으로서의 반복
 3. 즐거움의 옹호: 히스의 反리얼리즘적 내러티브 이론에 대한 비판
  1) 형식주의와 주체의 궁지
  2) 저항적 중간부와 유토피아적 결미
  3) 차이를 만들어내는 반복
 4. 결론
 참고문헌
 Abstract

키워드

저자

• 김소연 [ Kim, Soh Youn | 연세대학교 강사 ]

참고문헌

발행기관

간행물

표지보기 관심저널 등록

• 간행물명

  영상예술연구 [The Journal of Image & Film Studies]

• 간기

  반년간

• pISSN

  1598-9119

• 수록기간

  2001~2016

• 십진분류

  KDC 668 DDC 779