• Journal of Popular Narrative
• /
• v.25 no.1
• /
• pp.393-425
• /
• 2019

This paper focuses on Alain Resnais's representative works (1955), (1959), and (1963), and analyzes how he implements a representation of memory though cinematic apparatus. These three films deal with horrific memories that seem impossible to reproduce aesthetically such as the Holocaust, the Hiroshima Atomic Bomb, World War II, and the war in Algeria. The reappearance of events that stripped humans of even their minimum dignity can naturally be associated with ethical issues. These events can never be reproduced because they cannot be explained in the human language. It is also impossible to reproduce in a way that doesn't invade other peoples' sufferings, nor displays the pain of others as spectacles. Alain Resnais was a director who realized that if factual representation was not possible from the beginning, truthfulness would have to be approached through cinematic form. Therefore, he tries to overcome these problems through cinematic forms. First, he shifts to action films to avoid the obscenity of documentary. shows the records of camps captured by German forces in the past, while shows the pain of others in a fictional form of representation. Next, he describes how the trauma affects the identity of the main character through a flashback in , but also shows a main character who is experiencing trauma without a flashback in Flashbacks have the effect of showing the effects of trauma on the main character, but at the same time they involve the obscenity of enjoying the suffering of others. Nonetheless, the absence of flashbacks highlights the impossibility of representation. This is because it is not silent in the impossibility of representation but is constantly approaching. The attitude that repeatedly circles around impossibility is an ethical form that maximizes the impossibility of representation. In conclusion, this is the ethics of representation that Alain Resnais showed in his films.

• Korean Architects
• /
• s.657
• /
• pp.126-127
• /
• 2023

10월 정기 답사 일정으로 아산 외암리 민속마을을 답사하고, 두 번째 일정으로 충남과학교육원을 답사했다. 아주 우연히, 바로 옆 '모나무르 카페 더 그린'이 괜찮은 카페라고 소개받아 추가로 답사를 했는데 건축물의 외관을 보았을 때는 별로 흥미를 느끼지 못했다. 그러나 반전이 있었다. 내부로 진입했을 때 건축물로 둘러싸인 내부에 중정으로 만들어진 워터가든에서는 놀라운 풍경이 그려지고 있었다. 중정에 설치된 워터가든을 에워싼 건축물은 카페, 예식홀 등 복합문화공간으로 구성돼 있어 관람객은 모두 워터가든과 곳곳에 설치된 조각, 예술품을 관람할 수 있으며, 자연 풍경도 같이 즐길 수 있었다. 많은 사람들이 즐기는 풍경을 보니 무척 재미있는 공간이라는 생각이 들었고, 이를 디자인한 건축사의 영감이 그렇게 부러울 수가 없었다. 우리는 주로 어떤 목적지를 선정해 답사를 하지만, 이처럼 예정에도 없었던 건축물과 풍경을 만나게 되면 답사의 즐거움이 배가 되는 기쁜 경험을 하게 되어 다시 다음 답사 일정이 기대된다.