스튜어트 홀의 영화적 협업과 이론의 시각화

Abstract

This study examines the implications of the work in which theoretical thinking is visualized, realized, and embodied through art, focusing on the case of cinematic collaboration between cultural researchers and artists. To this end, the film <Frantz Fanon: Black Skin, White Mask> by British black artist Isaac Julien is compared and analyzed with the theoretical thinking of cultural researcher Stuart Hall. Stuart Hall has interacted with black artists since the 1980s, especially in the cinematic collaboration of Isaac Julien, who has shared a sense of the problem of “visualization of theory,” in his research on representation, race, and identity. Stuart Hall's thinking, which emphasized the politics of identification that moves in the characteristics of difference, self-reflection, and context dependence, is reproduced in this film around sight and boundaries. Through this, it can be confirmed that theoretical concepts that change according to history and context find a place to talk in the area of representation.