또 다른 화자: 샹탈 아케르만(Chantal Akerman)의 시공간과 영화 미학 －영화 <갇힌 여인>(La captive) 분석을 중심으로－

Generic structure of Chantal Akerman’s film appears to be even innovative due to its autistic tendency. Flow of time that is exposed raw in a limited space and the plot without conventional restraint show her sincere contemplation for fundamental aesthetics. It provides audiences with the vacancy which creates a deep passage for their unconsciousness and anti-realism. In many Akerman’s films space is superficially closed, but her unique technique of revealing something hidden by showing everyday life is mesmerizing. In other word, she forms another ‘intimate distance’ by keeping distance (with consciousness of audiences). This report examines the time and space of <La Captive>(2000),which is based on the 5th volume of Marcel Proust’s La recherche du temps perdu. While characters’ behaviour captured in a camera is a means to study the equally given space, and cinematic sound refined with continuous time are building semantic network of non-linguistic narrator as another narrator. The first impression of <La Captive> is that it has a minimal and objective view towards the complicated Proust novel, allowing genuine reconstitution. However, focusing on the restricted space and time, it is destroyed by instantly created non-linguistic narrator including presence and absence of characters. The film lets its audience encounter the fundamental contemplation when they face with the ‘empty time-space’. Her cinematic aesthetics is still on the line of ‘experiment’ that has no boundary for existence of time and space. ‘Another narrator’ is metaphorically time-space itself in Akerman’s film.