해부학적 카메라와 의학 이미지에 관한 이론적 고찰

Abstract

This is an attempt to consider how, when physical optical apparatus penetrate the body, the visibility of internal body images, considered invisible, leads to the formation of a subject with a certain kind of ‘Optical Unconscious’ in humans. The internal body images refer to the “anatomical camera” based on medical devices such as X-rays, endoscopes, ultrasounds, CT/MRI/PET, and the “medical images” they represent. Unlike medical images that inevitably require interpretation, the emergence of internal body images, not easily accessible in everyday life, crossing the boundaries between film cameras and medical cameras, can be considered a symptomatic phenomenon. Even though the appearance of these images has become frequent on screens around the turn of the 2020s, they cannot simply be seen as new images. The reason is that the history of optical apparatus resonates with humans' desire to capture the body and movement. In terms of media archaeology, reviewing individual theories about scattered internal body images in the field of film history, and reconciling the discontinuity of anatomical cameras and medical images, reveal the affinity and complementarity of optical apparatus that were divided into science and art, while also gathering the origins of various apparatus that were concealed or unified in film history.