한중 청년세대 SF영화의 현주소 — <승리호>와 <유랑지구> 비교를 중심으로

Abstract

While Space Sweeper and The Wandering Earth have something in common that were made by directors of similar ages around the same time and have the distinction of being the first science fiction films set in space in both Korea and China, the two films have different motivations and production processes. However, they are similar in that they both have a plot about saving the Earth from apocalypse and a heroic narrative structure in which heroic characters play a role in this process. Despite having similar plots and narrative structures, the two films show different aspects in terms of characters and storytelling. Therefore, this paper compares and contrasts the similarities and differences in the characters and storytelling of the two films to analyze the reasons for these differences, and further examines the current state of Korean and Chinese science fiction films in young generation. Space Sweeper and The Wandering Earth show both typical and untypical characterization at the same time. In particular, the two films have differences in the setting of the hero character and the role of female characters, but they are similar in that they set up characters who show reversal and growth, and set up women as the protected, saviors, and creators. In addition, the two films repeated and varied the clichés of existing films in storytelling, such as the establishment of a dichotomous narrative structure, familism and heroism, and the reflection of social and political issues. Both Space Sweeper and The Wandering Earth imitated the production system of Hollywood science fiction films to build original IP and attempt transmedia storytelling through various media. In the process, while Space Sweeper was produced according to the market economy principles of the capitalist system, The Wandering Earth was produced as an extension of the Chinese government’s cultural top-level design, a variation of socialist system’s top-down culture project, government’s top-down filmmaking and top-level design and thus has the characteristics of a main melody films in a broad sense. The fundamental differences in the production backgrounds and processes of the two films have influenced the thematic consciousness of the films, the production of their sequels, and the future prediction of Korean and Chinese science fiction films.