Research on Georges Schwizgebel's "The Subject of Picture" - Focus on Deleuze's Frame Theory and Sensibility Theory -

조르주 슈비츠게벨의 "회화의 주체" 작품연구 - 들뢰즈의 감각이론과 프레임이론을 중심으로 -

  • 정동희 (경민대학 만화애니메이션학과) ;
  • 김재웅 (중앙대학교 첨단영상대학원)
  • Published : 2007.05.28


This is an analysis study about the pictorial frame of Georges Schwizgebel's animation "The Subject of Picture", focusing on Deleuze's frame theory. First of all, the shapes in the frame of the animation is the representation of the tactile sensation from the erased vestiges of the characters. It shows the metamorphosis of the erased vestiges of the shapes by Deleuze's sensibility theory. Besides, the layout of the animation's background has similar property with the aplat which was mentioned by Deleuze. It means that the background of the animation correspond to the aplat which is other boundary different from reality, and the character which has the minimum embodiment about the object makes the shape newly through the distortion of the shape. Secondly, as the problem of frames in terms of the continuity of time, the meaning in Schwizgebel's animation is created by the relation between each frame. It means that the depiction of the shape itself by the composition between each frame is composed of the frame. Eventually, Schwizgebel's work is the animation which has the characteristic of the modem cinema and is the crystal depiction that deviates from rules and logics of the object which was mentioned by Deleuze.


Metamorphosis;Composition of Between the Two Frames;Continuance of Time