숏폼 동영상 플랫폼에 나타난 나르시시즘

Abstract

Rosalind Krauss has studied early video media as an aesthetic of narcissism. The aesthetic characteristics of early video basically arise from the dichotomy of ‘an artist who points to a video monitor’ and ‘an artist who is pointed at by a mirror reflection’, as narcissism occurs when the subject identifies with the imaginary reality projected on the mirror of a video in order to overcome this situation. These aesthetic characteristics are identical in modern short-form platforms. The same aesthetics of narcissism is revealed on the short-form platform represented by TikTok, rather capturing the subtle changes in human emotions facing a moment of ambivalence better than early video media. However, Krauss describes the narcissistic characteristic of videos that induce an imaginary coincidence to close the gap between the real and the imaginary reality as ‘self-encapsulation’. In addition to ‘Instant Feedback’, another characteristic commonly found in early video works, it incorporates the closed-circuit characteristics of video. Unlike early video, ‘self-encapsulation’ and ‘immediate feedback’ in the modern short-form video platform in which the camera and monitor are integrated are means of reinforcing the meaning of narcissism in the short-form platform because the short-form platform accelerates the phenomenon of ‘self-encapsulation’ by providing immediate feedback in the form of reactions by subscribers, such as ‘comments’ and ‘likes’, to the creator and reflecting them back into the work.