This article deals with the early documentaries of Joris Ivens, born in 1898, in Nijmegen, a Dutch town close to the German border. Unfortunately, there is no research on him in Korea. This is the reason why this paper had to start with the introduction of early works, and it is also an excuse. His documentary aesthetics will be completed only after the study of socialist and communist documentaries after the 1930s, which is left as a task for the next study. Joris Ivens produced analytical and formal works under the influence of the European avant-garde in the 1920s. He analyzed the rhythm and movement of visual images through , and captured the current fleeting features and the improvisation in . If the former emphasized formal and abstract events, the latter was regarded as a cinema-poem that recorded the city's lyricity by capturing more than 130 shots of Amsterdam in rain. However, even though two films each vividly recorded Rotterdam bridge and the rainy scene of Amsterdam, Balaz criticized the two works as images that lack reality. But it is not ture. The reason is that Ivens emphasized European avant-garde aesthetic practice at this time. It is indisputable that the two films which attempted to record Amsterdam's present through iron bridges and rainy places occupy an important place in his documentary aesthetics.
국제언어인문학회 [INTERNATIONAL ASSOCIATION FOR HUMANISTIC STUDIES IN LANGUAGE]
설립연도
2000
분야
인문학>언어학
소개
국제언어인문학회는 '언어를 통한 인문학 연구'의 필요성에 동감하는 여러 전공분야 학자들의 뜻을 담고 있습니다. 언어에 초점을 맞추는 것은, 다양한 전공분야의 참여에서 생겨날 수 있는 '이질적 집합'의 상황을 극복하기 위한 장치입니다. 현재로서는 작은 불씨를 지핀 것에 불과합니다. 그러나 이렇게 일구어진 불꽃이 새로운 학풍의 바람결에 커다란 섬광으로 빛나게 될 날이 올 것을 우리는 확신합니다. 우리의 학회와 학술지는 인문학 불변의 가치와 시대적 사명을 인식하는 국내외의 학자들을 향해 활짝 개방되어 있습니다. 특정 전공의 범위를 넘어서서 철학, 문학, 언어학, 종교, 역사, 문화, 예술 등의 시각에서 언어의 본질을 토론할 기회가 될 것입니다.