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들뢰즈의 시네오시스

들뢰즈의 시네오시스

  • 데이비드 디머
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  • 한국외국어대학교 지식출판콘텐츠원
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  • 2022-08-31 출간
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  • 618페이지
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  • 151 X 221 X 34mm / 970g
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  • ISBN 9791159019074
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새로 번역하며 / 7
역자 서문(2019) / 9
감사의 말 / 16 일러두기 / 19 약어표 / 24
다이어그램, 도표, 영화 프레임 목록 / 26 서론_들뢰즈의 시네오시스 / 33

제1부 / 시네오시스 열기
제Ⅰ장 / 첫 번째 방법 | 이미지의 두 체제 66
1. 운동-이미지와 시간-이미지 베르그손, 이미지 그리고 지속 ························ 69
2. 운동-이미지 퍼스, 세미오시스 ································································· 88
3. 시간-이미지 들뢰즈, 종합들 ··································································· 131
4. 시간-이미지와 운동-이미지 베르그손, 지속 그리고 이미지 ······················ 180
제Ⅱ장 / 두 번째 방법 | 이미지와 기호들의 계열 188
1. 지각-이미지 ·························································································· 191
2. 감정-이미지 ·························································································· 198
3. 충동-이미지 (발생 초기의 행동-이미지) ·················································· 205
4. 행동-이미지 (작은 형식, 행동 → 상황) ················································ 213
5. 행동-이미지 (큰 형식: 상황 → 행동) ····················································· 220
6. 견인-이미지 (첫 번째 반성-이미지: 여섯 번째 정신-이미지) ·················· 233
7. 도치-이미지 (두 번째 반성-이미지: 다섯 번째 정신-이미지) ·················· 241
8. 담론-이미지 (세 번째 반성-이미지: 네 번째 정신-이미지) ······················· 248
9. 꿈-이미지 (세 번째 정신-이미지) ························································· 259
10. 회상-이미지 (두 번째 정신-이미지) ······················································ 266
11. 관계-이미지 (첫 번째 정신-이미지) ···················································· 274
12. 시지각 기호와 청각 기호 ····································································· 283
13. 유리 기호 ··························································································· 294
14. 시간 기호 ··························································································· 303
15. 정신 기호 ························································································· 312
16. 가독 기호 ··························································································· 320
제1부 후기 / 펼쳐진 시네오시스 ································································ 338

제2부 / 시네오시스의 실제
제Ⅲ장 세 번째 방법 | 시네마토그래픽스 (1995∼2015) 345
1. 〈잠수종과 나비〉 | 고체 지각 ······························································ 347
2. 〈타임코드〉 | 액체 지각 ······································································ 351
3. 〈나코이카시〉 | 기체 지각 ··································································· 356
4. 〈테러리스트〉 | 도상 ··········································································· 360
5. 〈슈퍼베드〉, 〈슈퍼베드 2〉, 〈미니언스〉 | 분체 ································· 365
6. 〈네 가지 시간〉 | 임의의 공간 ·························································· 370
7. 〈휴먼 센티피드〉 | (첫 번째 시퀀스) 증후 ········································· 377
218. 〈해리 포터와 죽음의 성물〉 1부와 2부 | 물신 ····································· 382
9. 〈이노센스〉 | 근원적 세계 ··································································· 388
10. 〈마더〉 | 결핍의 지표 ······································································· 394
11. 〈킬러 인사이드 미〉 | 모호성의 지표 ················································· 399
12. 〈아자미〉 | 벡터 ················································································ 405
13. 〈오늘의 맑시즘(프롤로그)〉와 〈무제〉 | 사회적 환경 ······················· 409
14. 〈메이드 인 대거넘〉 | 이항식 ···························································· 416
15. 〈피쉬 탱크〉 | 각인 ········································································· 425
16. 〈흔들리는 구름〉 | 조형적 형상(形象) ················································ 431
17. 〈스콧 필그림〉 | 연극적 형상 ···························································· 436
18. 〈소스 코드〉 | 미장아빔 ···································································· 441
19. 〈네 얼간이〉 | 숭고의 형상 ······························································ 447
20. 〈슬랙키스탄〉 | 쇠약의 형상 ······························································ 452
21. 〈울부짖는 남자〉 | 일상적인 것 ························································· 458
22. 〈몬스터즈〉 | 큰 형식 행동-이미지의 극한 ········································· 463
23. 〈브룩클린 파이니스트〉 | 작은 형식 행동-이미지의 극한 ····················· 468
24. 〈메트로 마닐라〉 | 행동-이미지의 한계 ·············································· 472
25. 〈스타트랙 8: 퍼스트 콘택트〉 | 풍부한 꿈 ········································· 478
26. 〈머시니스트〉 | 소박한 꿈 ································································· 481
27. 〈인셉션〉 | 세계의 운동 ···································································· 484
28. 〈시크릿 인 데어 아이즈〉 | 강한 운명 ··············································· 489
29. 〈백인의 것〉 | 약한 운명 ··································································· 495
30. 〈트라이앵글〉 | 분기하는 길들 ··························································· 500
31. 〈세븐〉 | 표식 ··················································································· 506
32. 〈닥터 후: 닥터의 날〉 | 탈표식 ························································· 511
33. 〈베리드〉 | 상징 ················································································ 519
34. 〈파이브〉 | 시지각 기호와 청각 기호 ················································· 526
35. 〈블랙 스완〉 | 마주 보는 거울 ·························································· 536
36. 〈셀프 메이드〉 | 투명과 불투명 ························································· 542
37. 〈시네도키, 뉴욕〉 | 배아와 환경 ························································ 551
38. 〈엉클 분미〉 | 현재의 첨점들 ···························································· 556
39. 〈러시아 방주〉 | 과거의 시트들 ························································· 561
40. 〈24시티〉 | 거짓의 역량 ···································································· 568
41. 〈아임 낫 데어〉 | 태도의 신체 ·························································· 572
42. 〈형용사, 폴리스〉 | 사회적 몸짓, 게스투스 ········································· 575
43. 〈도그빌〉 | 뇌의 시네마 ···································································· 582
44. 〈엔터 더 보이드〉 | 가독 기호 ·························································· 585
참고문헌 / 596 필모그래피 / 603 찾아보기 / 607

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