구창웨이(顧長衛) ‘시대 삼부작’을 통해 본중국 영화의 시적 특징

Abstract

As a representative of traditional Chinese culture, the poetic form of expression has evolved from literary texts to visual arts and cinematic arts. In Europe, where cinema originated, poetic films have developed through Italian neorealism, the French New Wave, and European modernist cinema, breaking the traditional narrative structure and expressing the multidimensional aspects of reality through dreamlike expression, non-linear progression, and inner emotions. This paper outlines the development of Chinese poetic cinema based on Pasolini's poetic cinema theory, clarifies the differences and connections between Chinese and European poetic creations, and examines how Chinese Fifth Generation director Gu Changwei, deeply influenced by European film theory, explores characters psychological states and creates a poetic atmosphere through camera language in his representative work, the ‘Trilogy of Time.’ Set against the backdrop of China's rapidly changing post-liberation era, the "Trilogy of Time" transcends the narrative framework of traditional cinema, blending reality with art, mainstream with diversity, showing respect and compassion for the lives of ordinary people, and revealing a deep understanding of life and freedom through poetic expression.