|
TITLE(K) |
¿ÀÈÄÀÇ ¿Ã°¡¹Ì |
TITLE(E) |
Meshes of the Afternoon |
DIRECTOR |
¸¶¾ßµ¥·» Maya Deren |
ADDITION |
1943-59 / 14 min / B&W / sound |
CATEGORY |
ÀÛ°¡±âȹÀü
»ó¿µ
2009
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LINK |
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SYNOPSIS |
À¯´ÉÇÑ Ä«¸Þ¶ó°¨µ¶À̾ú´ø ¸¶¾ßµ¥·»ÀÇ ³²Æí ¾Ë·º»êÅÍ Çì¹Ìµå(Alexander Hammid)¿Í ÇÔ²² ¿¬ÃâÇÏ¿´´ø ÃÊÇö½ÇÀûÀÌ°í Ãæ°ÝÀû ½É¸®±Ø. ÀüÅëÀû ÀϺ» ±â¾Ç ¼±À²Àº Èʳ¯ Å×ÀÌÁö ÀÌÅä¿¡ ÀÇÇØ µ¡ÀÔÇô Áø °ÍÀÌ´Ù. ¸¶¾ß·¹·»Àº ÀÌ ÀÛÇ°¿¡¼ ÇÁ·¹ÀÓ°ú ÇÁ·¹ÀÓ »çÀ̸¦ ºÎÀ¯Çϵí Ç×ÇØÇÏ¸ç ¿ì¸®¿¡°Ô ÇÁ·ÎÀÌÆ®Àû ºÒ¾È°¨À» ¾È°ÜÁÖ¸ç ÇϳªÀÇ ¾ÏÈ£ÈµÈ À̾߱⸦ º¸¿©ÁØ´Ù. ´ëÇ¥ÀÛÀ̶ó ºÒ¸®´Â ÀÌ Ã¹ ¹ø° ÀÛÇ°À¸·Î ¸¶¾ßµ¥·»Àº °¨°¢À» µÚÈçµå´Â ¹ÌÇÐÀ» ¸¸µé¾î ³»¸ç Â÷º°ÀûÀÎ ½ÇÇèÀû, µ¶¸³ÀûÀÎ Ãʱ⠹̱¹ ¿©¼º¿µÈÀÇ ±Ù°£À» ¸¶·ÃÇÏ¿´´Ù.
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In the striking psychodramas Deren created in the early 1940s with her cameraman husband, Alexander Hammid, she often placed herself in the frame, navigating a path through anxiety-laden Freudian environs, dreamscapes of the seemingly unphotographable. Meshes of the Afternoon drew upon an earlier, European artists’ cinema and created the groundwork for a distinctly modern, personal, and proto-feminist film practice in America.
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