디지털 영화 기호학을 위한 이론적 시론: 이론적 검토와 스켈레톤 알고리즘의 제안을 중심으로

초록

This paper aims to examine the possibilities of ‘digital cinema semiotics’ theoretically. This is an attempt to rethink the conventional cinema semiotics based on today’s digital conditions. There have been attempts to introduce the linguistics model (Metz), phenomenology (Mitry), and bodies-passions (Greimas & Fontanille) to explain the “sign” of cinema. To synthesize these discussions, this paper proposed to view the ‘sign’ of the cinema as the ‘cinematograph.’ Cinematograph is one of the technological grammatization with its own logic and system, meaning movement-graphic. This is because, unlike the “sign” of cinema, cinematographs are closely related to our bodies, perception system, and (un)consciousness as a writing system. Meanwhile, the digitization of the cinema allows the analysis of the movement-value of cinematographs. The computability of cinematographs is the condition of digital cinema semiotics. And this paper proposes a skeleton algorithm as a practical application example. This algorithm can help quantify and analyze the character’s action-movement value. Of course, it isn’t quite meaningful to analyze the value of one separated action-movement. It is similar to the attribute of ‘sign’ defined by Saussure. The meaning of the sign is constituted only through ‘differences’ and ‘combinations.’ Therefore, the cinematograph’s movement-value should be analyzed in terms of differences and combinations with other data, not just itself.

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