포스트-매체왿�‘ 확장된 영화’로서 실험영화: 크리스티안 마클레이의 <시계>를 중심으로 (“Post-Medium” and Experimental Film As “Expanded Cinema”: A Case of of Christian Marclay)

크라우스의 포스트-미디엄을 마클레이의 <시계>를 중심으로 살펴본다. <시계>는 기술적 지지체로서 영 화 무빙이미지왿� 사운드를, 관습의 요소로서 아카이브를 매체로 사용한 예이다. 아카이브는 영화라는 내재적으로 이질적인 매체 자체의 기술적 작동방식이기도 하다. 시간의 공간화, 실재적 시간과의 동조 화 그리고 사운드왿� 혼합된 파운드 푸티지의 신체적 체험으로부터 포스트미니멀리즘의 비정형적 요소 가 표출된다.

In this paper, I examined Christian Marclay’s intermedial works including <The Clock> and its relation to experimental films. After Neo Avant-garde movement in 1960-1970s, many “Structural Films” were produced. These Structural Films had common features with Minimalism, such as investigation into “form” & materiality. Marclay’s works repeat these Structural Films’ experimental form & contemporary films’ grammar of practice. However, Marclay’s works also have the features of Post-Minimalism. Even though maintaining Minimalism’s approach to form, his works are the results of a translation of Minimalism’s form into bodily experience & synaesthetic experiment. Marclay’s works, especially <the Clock>, could be evaluated as “tour de force” among so many contemporary post-medium intermedia works. In <the Clock>, Marclay uses sounds and moving images as technical support, also synchronicity with real time as abstractional technical support. Archive of found footage is used as conventional medium, through which technical supports are unfolded. As a response to the phenomena of real time archive in everyday life, Marclay’s <The Clock> works as a radical criticism on the situation of post-modern society.