A Study on Several Images linked through Mono Narrative: Focusing on the Way of the Cross (a.k.a. Via Dolorosa)

Abstract

As Gilbert Durang said, this is the age of image flooding. Therefore, the image, which has traditionally been regarded as inferior to reality and has been accepted as an illusion, is regarded as a “existence between representation and object” in modern philosophy, generating a lot of discourse. However, today's image is gradually transforming beyond the “existence between representation and object” by functioning as a channel of (recognition) rather than a representation (reproduction) or an object (specific object). This means that symbols containing meanings are expanding from existing text to images (image text). In other words, today's image functions as a medium, that is, a medium, that conveys meaning like text in the past era. The Way of the Cross is a good example of this trend. The “Way of the Cross” to remember the scene of Jesus' suffering is the site of spatial storytelling that tells the story of the most important historical moment in Christianity, a collection of images that lead to a single narrative, and a monument that appears in various shapes and shapes. “The Way of the Cross” can be said to be the site of “imagetelling” in that images containing intense narratives dominate space and lead to spatial storytelling, and discussions on the media nature of images that can be derived from it will provide insights on the process and separation of certain images in the future. This article is the first exploration of a series of studies to consider that images today take on the character of media, and that is why certain images are linked to symbols with transmedia attributes. In order to accommodate and organize traditional perspectives that examine images have media attributes, we would like to open the door to discussions on the characteristics of today's images by using Catholicism's “Way of the Cross,” which simultaneously shows the characteristics of “myth” and “real time-experience narrative.”