본 연구는 첫째 시각미디어의 구조를 파악하는 데 있
어서 라캉의 무의식의 구조에 의지하여 시각미디어와
‘본다’는 것(시선과 응시)이 상호주체적인 과정임을
설명해줄 수 있는 이론적인 틀을 마련하는 것이다. 둘
째 이렇게 마련된 이론적 틀을 활용하여 시각적 미디
어와 이미지에 적용해 보면 스크린은 욕망을 내포하
고 있는 텍스트이자 관객과 상호 작용하는 환상의 텍
스트라는 것이다.
이러한 결론을 얻기 위해서 라캉의 정신분석 이론
을 이미지 분석의 적용과 해석 가능성이라는 관점에
서 검토하였고, 시선과 권력에 대한 기존의 논의들을
재구성하면서 이론적이고 분석적인 수준에서 시각이
미지와 해석의 문제에 접근하였다
본 연구를 통하여 연구자는 이미지를 접하는 관객
이 의미를 생산하는 정신분석학적 방식을 주목하였고
응시는 해석적 도구로써 영상에서 왜상을 해석하는
기표로 다루었다. 이를 위해 손병돈의 2008년 전시
작품을 예로 사용하였다.
그의 작품은 첫째, 작품의 왜상과 응시를 직접적으
로 사용함으로써 관객을 유혹하는 전시를 보여주고
있었다. 왜상은 관객에게 그의 시선을 사로잡는 응시
로서 기능하고 있으며, 왜상은 타자가 해석하고 동일
시하며 투영하는 욕망의 덫으로 기능할 수 있음을 보
여준다. 둘째, 컴퓨터를 이용한 관객과의 적극적인 상
호 소통은 미디어 아트의 구조를 통해 객체인 방문객
을 능동적인 주체로 전환하는 상호주체적인 참여를
가능하게 한다. 마지막으로, 응시의 표현 방식은 낯익
은 대상을 낯설게 압축 전치하여 사용한다. 낯익음을
가장한 낯설게 하기 방식은 왜상 혹은 왜상의 응시에
대한 오인으로 기인하는 데, 이는 관객의 익숙함을 전
복시키거나 고정되어 있는 관념을 비틀어 삐딱하게
제시하고자 하는 의도이다.
본 연구를 통하여 연구자는 정신분석학의 도움을
받아 어떻게, 왜 영상을 해석하는지를 수행할 수 있었
다. 본 연구는 영상을 분석하는 가장 직접적인 정신분
석의 구조를 설명하고 그 결과를 확인하는 해석 틀을
제공할 것이다.
The aim of this study is to prepare a theoretical frame to explain that both visual media and seeing, the look and the gaze, are the process of inter-subjectivity in reliance on the French psychoanalyst Jacques Lacan's thought for understanding the structure of visual media. Second, according to analyze visual media and visual images, screen is not only a text including desire but also a fantastic text interacted with a viewer in using the prepared theoretical frame. Therefore, in this study I have checked over the view point which is applied from psychoanalysis to visual image and which is an interpretational possibility to have a conclusion. To recompose discussions preexisted for a look and a power, I have approached on visual media and a matter of interpretation on a theoretical and an analytical flat. In this study, I have focused on the role of the viewer in making meaning of the images, and theories about the gaze as the signifier to read or interpret anamorphosis in visual images. For it, I have used 'A Video Installation on the Representation of the Gaze', the exhibition of Sohn, Byoung Dohn in 2008, as a case study. In his works, firstly, he had been showing his solo exhibition used directly an anamorphosis and the gaze to spectators as a trap for the look of spectators. The anamorphosis was functioning as the gaze in which they can read it, identify with it and project their desire onto it. Therefore, I can say that it is regarded as operating the trap of others' desire. Secondly, his exhibition was able to be possible that others can participate inter-subjectively in it as the subject which was an object with the positive inter-communication based on the computer technology, through the structure of media art. Finally, the way of the gaze was using a familiar object to an unfamiliar one which was displaced and compressed in order to not only upset being well acquainted things but also twist the fixed notions that came from others as spectators. In this paper, I have proceeded by how and why the analysis of the visual images can be helped by Lacanian psychoanalysis. This statement will provide a template for subsequently identifying and describing those aspects of the Lacanian system that bear most directly on the analysis of the visual images.
The aim of this study is to prepare a theoretical frame to explain that both visual media and seeing, the look and the gaze, are the process of inter-subjectivity in reliance on the French psychoanalyst Jacques Lacan's thought for understanding the structure of visual media. Second, according to analyze visual media and visual images, screen is not only a text including desire but also a fantastic text interacted with a viewer in using the prepared theoretical frame. Therefore, in this study I have checked over the view point which is applied from psychoanalysis to visual image and which is an interpretational possibility to have a conclusion. To recompose discussions preexisted for a look and a power, I have approached on visual media and a matter of interpretation on a theoretical and an analytical flat. In this study, I have focused on the role of the viewer in making meaning of the images, and theories about the gaze as the signifier to read or interpret anamorphosis in visual images. For it, I have used 'A Video Installation on the Representation of the Gaze', the exhibition of Sohn, Byoung Dohn in 2008, as a case study. In his works, firstly, he had been showing his solo exhibition used directly an anamorphosis and the gaze to spectators as a trap for the look of spectators. The anamorphosis was functioning as the gaze in which they can read it, identify with it and project their desire onto it. Therefore, I can say that it is regarded as operating the trap of others' desire. Secondly, his exhibition was able to be possible that others can participate inter-subjectively in it as the subject which was an object with the positive inter-communication based on the computer technology, through the structure of media art. Finally, the way of the gaze was using a familiar object to an unfamiliar one which was displaced and compressed in order to not only upset being well acquainted things but also twist the fixed notions that came from others as spectators. In this paper, I have proceeded by how and why the analysis of the visual images can be helped by Lacanian psychoanalysis. This statement will provide a template for subsequently identifying and describing those aspects of the Lacanian system that bear most directly on the analysis of the visual images.
