| This dissertation inquires into the traces of memory in documentary film, to examine the ways in which the memory is connected not only to our concept of history but also to the sense of reality by actualizing the differential repetition.{09}In so doing, it argues that not only the notion of documentary genre but also the understanding of memory, and the relationship between them, should be modified or reconsidered through the concept of creative repetition.; This study explains the inherent ambivalence of documentary image between reality and verisimilitude and shows how documentary image can propose us to refuse to comply with the simulated desire and employs the repetition based on the difference which actualizes in the process what can happen in the future. Also a creative repetition of visual memory is exercised to confront historically-fostered amnesia, which will prove that the working with memory does not necessarily function as gratification of the past. In addition, this study scrutinizes the interaction between documented image and memory and demonstrates the productive power of simulation that does not depend on the original, but finds its purpose in the process of repetition as the motion of distantiation. Finally, this research deals with the question of reality and historical awareness that is acquired by the realization of the unrealized possibilities in history. In this process, the discursive potentiality of documentary image in terms of the notion of "inscription" is highlighted in order for me to argue that the absence of the textual element in the overlooked image can be filled in by none other than by reworking of our memory. In short, this study suggests, if we consider the historical fact as a virtual point as a condition of repetition, then the historical memory does not have to bring us back to the past but can move the center of gravity to the present, by being involved in the construction of now. |
