러우이예 영화 속의 ‘상하이’에 대한 서술

Abstract

While most of the fifth generation of filming people in China focus on the rural areas, the sixth generation artists turn their cameras to the cities. The sixth generation filming people are the ones who grow up when the economy and the cities of China develop rapidly. Cities are the space where they develop their stories and most of their works are based on Beijing and Shanghai. While cities represent civilization and degradation in the fifth generation movies contrasting with ignorance and goodness of countryside, they represent the space for life in the sixth generation movies. Since 1990s Chinese cities have been developing rapidly and being modernized. The old Shangha, which has been criticized since 1930of leftist movement has emerged to the surface and the glory of the old is revived. The proliferation of the nostalgia of contemporary city culture diluted the historical characteristic and expressed the imaginary nostalgia, which would remind pseudo historical sense. These movies are based on the false senses and formalized understanding in the description of the movies based on Shanghai. They are only interested in the subjects of description and queerness of detailed landscape. Because of this tendency, the reality of current Shanghai-absence of reality and history-made the young filming people resist against the false cultural reality. Shanghai in the movies of Rouye, a sixth generation director is different from that in other movies. He tried in depth description on Shanghai through images as a city culture which combines the rapid changes and complex aspects of China. I believe his review and search for movies, human beings and history are meaningful at the times when the legend about Shanghai is continuously being made. We tried to review his film language and the description on Shanghai through his three movies describing Shanghai such as “Lovers in Weekend”, “Suzhouhe”and “Purple Butterfly”.