홍상수 영화의 비결정적 시학 - [클레어의 카메라] (2017)을 중심으로

Abstract

Hong Sang Soo’s <Claire's Camera>, produced in 2017, is a film which conceptualizes ‘differences’. Jeon Man-Hee (Kim Min-Hee) revoked the situation related to her dismissal. The duality of the virtual image and the actual image is prominently presented in this film. This reveals the characteristics of the film as a film with time images. The film show differences not induced by similarity of events but by the difference itself. This paper analyzes the undecidability of the crystal image, which is a concept of Gilles Deleuze. The intervals between images have non- causal characteristics and, accordingly, the story is not integrated into chronological time as a whole. The crystal image of this film shows the temporality of Aion, the concept of time in Deleuze's philosophy. Hong Sang-Soo is breaking up the continuity of the story by way of arrangement rather than branching or breaking. The narrative structure of repetition, in which little narratives are arranged and varied, presents a liberated temporality that escapes from how linear time flows in one direction. Each scene appears to be similar to the previous one, but each is arranged at non-organic intervals that emphasize the difference. As a result, there is an ambiguous temporality that cannot be discerned, whether true or false, past or present. This temporality draws attention not to the same repetition or reproduction of scenes but to the differences between irregularly repeated and varied scenes. In conclusion, the crystal image shows pure events through the expression of Aion, not a representation of Chronos, allowing the spectator to see the differences in the intervals between scenes. In addition, Hong Sang-Soo lets the audience experience a time of liberation through the undecidability of the narrative.