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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
LINK
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 ¾ÏȣȭµÈ 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.

INFOMATION
¾²±â ¸ñ·Ï   ´ä±Û
NO TITLE(K) TITLE(E) DIRECTOR ADDITION
144
ÀÌ·± ½Î°¡Áö ¾ø´Â³ðÀÌ ÇÏ´Â ¼Ò¸®
What this naughty boy has say
Á¤ÁÖ¾Æ 7min50sec¦¢2007¦¢Digi-beta¦¢¾Ö´Ï¸ÞÀ̼Ç
143
Çã¶ôÇØÁÖ¼¼¿ä
Please Permit
±è´Ù¿î 2005 | 6min30sec | DV | mixed | ±Ø¿µÈ­
142
È£Èí
Respiration
ÀÌÇÑ¾Æ 3min 30sec | 2006 | DV | color | ¾Ö´Ï¸ÞÀ̼Ç
141
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YOU
Á¤ÀÚ¿µ 2006³â 3 min color
140
¿ìÁî ³ë ¸¶ÀÌ ³×ÀÓ
Woods no my name
°­¿ø 16ºÐ 52ÃÊ | 2008 | 6mm DV | ½ÇÇè±Ø¿µÈ­
139
º®È­ ¾Ö´Ï¸ÞÀÌ¼Ç ÇÁ·ÎÁ§Æ® #1, 2 (since 2005)
½ÅÇöÁ¤ color, 2D ¾Ö´Ï¸ÞÀ̼Ç
138
The Fish
The Fish
¹Ú°æ¹Ì Park Kyung-mi 3ºÐ 20ÃÊ, 2006, DV, color, ¾Ö´Ï¸ÞÀ̼Ç
137
ÀáÀçÀû ½½ÇÄ
Latent Sorrow
±è½ÃÇå Shon Kim 3ºÐ 30ÃÊ, 2006, 16mm, color, ½ÇÇè¾Ö´Ï¸ÞÀ̼Ç
136
Â÷ÀÌ¿Í ¹Ýº¹1- ½ºÄ§°ú ¸¶ÁÖħ
Difference and Repetition1 - Glance and Focus
±è¿¬Á¤ YeonJeong Kim 5ºÐ 30ÃÊ, 2007, DV, B&W, ½ÇÇ迵»ó
135
¹«ºù Æijë¶ó¸¶
Moving Panorama
º¯Àç±Ô Byun Jae-kyu 4ºÐ 11ÃÊ, 2005, DVD, color, ½ÇÇ迵»ó
¢¸ 11 12 13 14 15 16 17 18 19 20 ¢º

 

 

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