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영어

This article deals with the early documentaries of Joris Ivens, born in 1898, in Nijmegen, a Dutch town close to the German border. Unfortunately, there is no research on him in Korea. This is the reason why this paper had to start with the introduction of early works, and it is also an excuse. His documentary aesthetics will be completed only after the study of socialist and communist documentaries after the 1930s, which is left as a task for the next study. Joris Ivens produced analytical and formal works under the influence of the European avant-garde in the 1920s. He analyzed the rhythm and movement of visual images through , and captured the current fleeting features and the improvisation in . If the former emphasized formal and abstract events, the latter was regarded as a cinema-poem that recorded the city's lyricity by capturing more than 130 shots of Amsterdam in rain. However, even though two films each vividly recorded Rotterdam bridge and the rainy scene of Amsterdam, Balaz criticized the two works as images that lack reality. But it is not ture. The reason is that Ivens emphasized European avant-garde aesthetic practice at this time. It is indisputable that the two films which attempted to record Amsterdam's present through iron bridges and rainy places occupy an important place in his documentary aesthetics.