KCI등재
영화의 접속 기표와 포스트-휴머니즘 재현: 인간과 기계의 관계에 관한 내포 연구 = Filmic Signifier of the Connection and a Representation of the Post human: study about the connotation of the relationship between human and machine
저자
발행기관
학술지명
권호사항
발행연도
2012
작성언어
Korean
주제어
KDC
701.05
등재정보
KCI등재
자료형태
학술저널
수록면
197-219(23쪽)
KCI 피인용횟수
7
제공처
Technoscientists predict that as the rate of technological developments go through a geometrical growth to encounter an age where the rate of change will surpass that of any humankind has so far experienced. The human and machine`s intelligence will become closely connected, the future will achieve an amazing technological accomplishment as ``post-human``, and it will be one of a society of computers with unlimited abilities. Facing the various changes and phenomena that new technology brings, we perceive categories which cannot be explained by anthropocentric discourses. The 21st century technological areas represented by information technologies, artificial intelligence, and genetics will certainly bring fundamental transformations. New technologies will blur the boundaries between humans, animals, and machines, between artificial and natural, born and made, reality and virtual. Firmly fixed ideas to the existence of human nature et l`uniqueness of humanity are shaken and a time will come when the relationship between the body and mind will also change. We are already living such an age of ``transition``. This study presumes that our present circumstance is a stage of passage to posthuman society and will search for such signs. It would not be wrong to say that aspects of representation shape cultural perception patterns. The public who are confused by the advent of high-technology experience a kind of intermediating process through SF films which represent the ``post-human``. They sometimes become doubtful on points that they believed to have known with certainty all along, or newly view the vague area where the old and the new are intermingled. The representation of technoscientific innovation is not simply objective, neutral portrayals, but serve to construct particular discourses about what it means to be human. It is impossible to objectively and neutrally describe representation dealing with the innovation of technoscience. Always it is medium which constructs various particular discourses by questioning the human of what he is and creates signification through the representation and systematizing of the narrative structure and audio-visual signifiers. Signification is not a state of the present perfect already existing in the world but a state of the progressive, constructing through action. Centering on films which forsee the posthuman age, in particular, works which represent the process of interfacing onto computer systems, simulation, cyborgs and avatars, this study tries to grasp the connotation about the relationship between human and machine, via 11 films as Lawnmower Man (1992), Johnny Mnemonic (1995), Virtuosity (1995), Thirteenth Floor (1999), Existenz (1999), Matrix (1999, 2003), Sleep Dealer (2008), Surrogate (2009), Avatar (2009), Gamer (2009), and Source Code (2011). The computer omnipresent nowadays and the digitalization is closely related to informational technology`s cultural, they play an important role in the transition to a posthuman society. In such a context, many scholars mention ``immateriality``, ``dematerialization`` or ``disembodiment`` in discussions of the post-human. These concepts see the results of information technology as being essentially different from those produced by analog methods, and positively accepts or criticizes the possibility of content existing independently from the material. The scene in which the human connects to a system in a great number of films where simulation technology is used has two connotations. First, it is the dimension reflecting central issues of artificial intelligence or informational technology sciences on ``human consciousness``. In other words, this suggests that the machine can ultimately become the repository of human consciousness. We can here remind the division of material layer with content layer afore discussed to the context of the body and mind`s division. The reinforcement of information patterns implies that of the human mental operations, information delivery processes are the most central and that consciousness can be separated from the human body. Therefore, this signifies that the mental processes of receiving, processing, and storing information and the neural system can be simulated onto computer programs and systems. The scenes in which a human connects onto the system is represented mostly by a strong connection of the ``cable (or capsule)``. The cable can be seen as a denotation signifier which expresses the human plugging onto the system, signifying the relationship between the machine and human (denoted signfied). The denotation in the film corresponds to the dimension in which images or sounds directly and specifically indicate a subject of reality, and by taking the denotation as the primary material (=connoted signifier) and considering what meaning it has within the narrative, it is again furthered as a connoted signified. This study divides the expressive aspect of ``connecting`` appearing in the afore mentioned 11 films into three kinds of connotation according to the narrative structure and manifested pattern of audio-visual signs. With the connection moment as the starting point, we can classify whether the identity that a character had up to then becomes ``enhanced``, ``destroyed``, or ``transformed`` through his or her relationship with the machine. In addition, we can consider the dynamic aspect of connotation, If we consider the dynamic aspect of connotation, it is not fixed to one category but can acquire the connotation of different categories according to the context of how the story is developed. For example, the implied meaning of the first and last connection scene can differ, and thus it is possible to consider a film which belongs to more than two categories. It is necessary to study the dimension of what the above discussed connection between the human and machine signifies along with how it is specifically expressed in the film, that is at the dimension of the signifier. It means patterns for constructing description in the film which is central part of this study.
더보기분석정보
연월일 | 이력구분 | 이력상세 | 등재구분 |
---|---|---|---|
2027 | 평가예정 | 재인증평가 신청대상 (재인증) | |
2021-01-01 | 평가 | 등재학술지 유지 (재인증) | KCI등재 |
2018-01-01 | 평가 | 등재학술지 유지 (등재유지) | KCI등재 |
2015-01-01 | 평가 | 등재학술지 유지 (등재유지) | KCI등재 |
2011-01-01 | 평가 | 등재 1차 FAIL (등재유지) | KCI등재 |
2009-01-01 | 평가 | 등재학술지 유지 (등재유지) | KCI등재 |
2006-01-01 | 평가 | 등재학술지 선정 (등재후보2차) | KCI등재 |
2005-05-29 | 학술지명변경 | 외국어명 : semiotic inquiry -> Semiotic Inquiry | KCI후보 |
2005-01-01 | 평가 | 등재후보 1차 PASS (등재후보1차) | KCI후보 |
2003-01-01 | 평가 | 등재후보학술지 선정 (신규평가) | KCI후보 |
기준연도 | WOS-KCI 통합IF(2년) | KCIF(2년) | KCIF(3년) |
---|---|---|---|
2016 | 0.72 | 0.72 | 0.66 |
KCIF(4년) | KCIF(5년) | 중심성지수(3년) | 즉시성지수 |
0.6 | 0.59 | 1.335 | 0.14 |
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