개인의 내면으로 침잠된 전쟁의 풍경 : 장이머우 영화 <금릉십삼채>의 ‘집’ 이미지를 중심으로

Abstract

<The Flowers of War> is a new movie made by Director Zhang Yi-mou, who is one of the representative directors from the fifth generation in China. It is about 'the anti-Japanese struggle' related to the historical event of the fall of Nanking by the Japanese army in 1937,However, while such movies as <Don’t Cry Nanking> and <City Of Life And Death> describe such a historical event with an objective point of view, <The Flowers of War> shows the way of recalling the event through the eyes of a girl named Shu-juan from the boarding school of Winchester Cathedral. This article focuses on how different the historical fact restructured with a personal point of view is when compared to those of other movies. At the beginning of the movie, the girls from the boarding school try to leave Nanking fallen to the hands of the Japanese army, but they soon decide to return to the cathedral. The movie ends when they finally leave the place. In the movie, the only spatial background is Winchester Cathedral which symbolizes a new 'house' and represents the western modernization. This article focuses on the point that Shu-juan sees Nanking with the integrated image given by the symbolic 'house' of Winchester Cathedral. Also, it analyzes the texts of the movie in terms of three factors such as the vertical-horizontal features of the space, the problems related to the life,death and regeneration of the people living in the space, and the hostile and personal views towards the space. First of all, Winchester Cathedral shows the western type of modernized 'house' showing a strong image of vertical arrangement. However, such a vertical type of space also shows the horizontal feature of oriental 'house'with the characters symbolizing the tradition of Nanking, including 'Qinhuaihe's Women'. The vertical-horizontal features show the grades of up and down. However, such grades seem to be flexible enough to be reversed. All those men and women living in the space lead the process of death and regeneration. The death of a man represents the death of a father protecting his family. The movie starts with the death of Father Englemann who is the protector of the cathedral and ends with the death of Shu-juan's father. Through the process, an American funeral director named John, who used to be disqualified as a father, recovers his role as a father protecting the family. The death of a woman represents a predicted and symbolic kind of death. Through the process, Qinhuaihe's women recover their statuses as 'girls and children'. Also, there are 'the hostile point of view' given by a young officer of the Chinese army and 'the nostalgia point of view' given by Shu-juan. 'The hostile point of view' based on the Yenan dogma of Mao Zedong prior to the period of reformation and opening soon disappears in the movie. Only 'the nostalgia point of view' given by a girl recalling one of the historical scenes as a beautiful memory is left behind.