지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
This thesis analyzes on a certain reality of a city in the twentieth century China, revolving around 『Platform(站臺)』, 『Shaowu(小武)』, 『Unknown Plasure(任逍遙)』, the works belonging to the Jiazhanke’s “고향삼부곡”, which will be probably referred to as his beginning movie in the film history, and following up its backgrounds in the chronological order. The youth in the lowest class in the movie such as the main characters, Shaowu, Chui’mingliang, Binbin, and Shaoji, wish to escape from their hometowns, Penyang and Datong(大同), but they fail. The director coolly narrates their frustrations from a small, peripheral city’s poor life conditions with no way-out, in the era of Chinese Reformation and Open-door Principle after the Cultural Revolution.
A pickpocket, Shaowu, and a day laborer, “AaQ(阿Q)”, respectively depicted by Jiazhangke and Luxun(魯迅) are similar to each other even if the two characters were set with 90 year timelag, in a sense that they are alienated and victimized by the ruling ideology and its would-be imitators, that they helplessly had no way-out although miserably struggling and doing their best for lives, and that they ended up in wretched failure. This was fulfillments of homogeneous realism of Luxun and Jiazhangke, who would get all artistic inspirations and techniques from reality rather than looking away from it.
Jiazhangke’s “Trilogy on Hometown” reached aesthetic consummation as critical, but at the same time, nihilistic realism by revealing the truth’s trenchancy and the local authenticity effectively with ethnographic techniques. This was possible with the author-spirit that was modest in the truth’s trenchancy, the bold attitude that did not sidestep but confront it, and the application of imagery grammar that tried to disclose it as it is. And more fundamentally, this was the triumph of realism which the director’s ethics, seeking to search for materials’ whereabouts to produce films in, had achieved.
A pickpocket, Shaowu, and a day laborer, “AaQ(阿Q)”, respectively depicted by Jiazhangke and Luxun(魯迅) are similar to each other even if the two characters were set with 90 year timelag, in a sense that they are alienated and victimized by the ruling ideology and its would-be imitators, that they helplessly had no way-out although miserably struggling and doing their best for lives, and that they ended up in wretched failure. This was fulfillments of homogeneous realism of Luxun and Jiazhangke, who would get all artistic inspirations and techniques from reality rather than looking away from it.
Jiazhangke’s “Trilogy on Hometown” reached aesthetic consummation as critical, but at the same time, nihilistic realism by revealing the truth’s trenchancy and the local authenticity effectively with ethnographic techniques. This was possible with the author-spirit that was modest in the truth’s trenchancy, the bold attitude that did not sidestep but confront it, and the application of imagery grammar that tried to disclose it as it is. And more fundamentally, this was the triumph of realism which the director’s ethics, seeking to search for materials’ whereabouts to produce films in, had achieved.
목차
1. 들어가는 말
2. 문화대혁명과 출로
3. ‘웨이좡(未莊)’에서 ‘펀양(汾陽)’까지
4. ‘허무 리얼리즘’
5. 맺는 말
【參考文獻】
【Abstract】
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UCI(KEPA) : I410-ECN-0101-2009-820-017187307