학술논문

<애프터썬>에 드러난 인덱스의 미학과 몸짓의 정동
The aesthetics of index and the affect of gestures revealed in Aftersun
Document Type
Article
Text
Source
The Journal of the Convergence on Culture Technology (JCCT), 06/30/2023, Vol. 9, Issue 4, p. 431-436
Subject
인덱스
몸짓
정동
기억
사후작용
Index
Gesture
Affect
Memory
Differed Action
Language
Korean
ISSN
2384-0358
Abstract
The film Aftersun(2022) is Scottish director Charlotte Wells' feature debut and is one of the films that received the most attention in the international art film scene that year. The overall structure of the film is a look back at a certain summer vacation that Sophie, now an adult, went to Turkey with Calum, a 30-year-old 'young dad', whom she lived apart after divorcing her mother when she was 11 years old. In fact, it can be said to be a reconstruction of memory, and Aftersun not only describes the contents remembered, but also reveals the process of reconstructing memories, making the film a process of post-action memory work. In this process, Aftersun proves Lev Manovich's words that cinema is an indexic art. Going back and forth between home video and cinematic diegesis, After Sun unleashes a new imaginary temporality through a two-hour conversation, traces of indexical signs engraved on home video and present times. The film urges involuntary memories in the chaotic time to the present, and makes meaning through traces and signs of intense gestures in the dialogue between media and media, past and present. The We think about the meaning through the time when the story is stopped and the implications of the gestures.