초록 열기/닫기 버튼
It has been argued since Plato that the image is fictional and imaginary, not real. Plato wants to distinguish the "thing" itself and its images, as well as essence and appearance, intelligible and sensible, the original and the copy, the model and the simulacrum, making the one preferable to the other. The property attributed to the image has been imaginary, illusory, ostensible, even false and deceitful. One of the reasons why the image has been depreciated is that it belongs to the territory of wrong-being or non-being, while the mainstream of western philosophy has been in the camp of being. Meanwhile, in the contemporary society of visual media where we are surrounded by a large number of images, the understanding of the image as fictional and false does not help us appreciate the effects of images on our lives. Therefore, we need to pay heed to Deleuze's theory of the image which considers the image as real, leading us to a better understanding of the burning issue of the image. In his strenuous book on films, Cinema 1: The Movement-Image, Deleuze makes it clear with recourse to Bergson that the image is real. Bergson argues in Memory and Matter that matter is composed of images; that is, matter is an aggregate of 'images.' By image he means a certain existence which is more than that which the idealist calls a "representation" but less than that which the realist calls a "thing"―an existence placed halfway between the thing and the representation. By defining image in this curious manner, Bergson hopes to overcome dualism, since matter now becomes an image that exists on its own but that we can also perceive without thereby threatening its objectivity. In addition to recognizing the reality of the image, Deleuze argues that cinema is unique because it shows the movement-image which implies the identity of movement and image. Deleuze divides the movement-image into the virtual and the actual movement-image: the one is the absolute movement-image which is the matrix or the acentered universe, the other the actualized movement-image whose three avatars are perception-image, affect-image, and action-image. In his book, Deleuze strenuously endeavors to make a taxonomic approach to the movement-image, with his goal in his mind being to show the deterritorial movement of cinema.
키워드열기/닫기 버튼
Gilles Deleuze, Bergson, the reality of the image, the movement-image, perception-image, action-image
