다큐멘터리 제작주체의 자기각인과 왜상적 형상화

Abstract

Documentary filmmakers have exposed themselves in many ways in their films. Although their presence is subjectivity itself, they do not hesitate to use their own performance as an esthetic form, such as an observatory long take, an interview, voice-over narration, and other means. As it has become a phenomenon, researchers call it the filmmakers’ ‘self-inscription’. Researchers and filmmakers will no longer say that documentaries can represent reality objectively and that it is the completely imaginary fiction. I focus on Lacanian conception because it is believed that The Real lands somewhere between optimism, in which documentaries can be completely objective, and pessimism, in which they are subjective artificials that are fully changed from profilmics. I assume that our belief that documentaries are documentaries, despite subjective treatment, may be a symptoms of The Real as triggered and evoked by filmmakers’ self-inscription. To analyze this form, I apply the film theory of suture, which includes concept, gaze and anamorphosis as the visual version of The Real. I would like to suggest that filmmakers’ self-inscriptions could become anamorphosis as they use themselves as the screen, aiming to rupture unstable representations. During this process, one can imagine that something real and free from intersubjective traps circulates between the films and the audience via a surplus gaze and the corresponding anamorphic image.