영화 ＜海灘的一天＞이 말한 사랑의 신화와 시대의 종언

Abstract

If a film director’s works are recognized by the public and critics as ‘modernistic’ ones, regardless of the times in which they are produced, and his works lead to the discussion of ‘modernity’, then it would be evident that they bring about the fundamental reflection and speculation on the art of cinema. In this aspect, Edward Yang’s films may be ‘modernistic’ across time and space, because of the narrative He attempted to embody through his films and the mode in which He treated it. That Day On The Beach is a film exhibiting the life of two females facing the traditional institutions and customs imposed on them in different ways, along with the dramatic development of economy and the modernization in 1970s and 80s. Edward Yang shows that it is impossible to judge right from wrong, regardless of whatever lifestyles an individual selects in the paradigm of times, and that individuals realize the truth of their life, in lives with a lot of characters. He also opens the possibilities of various interpretations, by abstractly reorganizing the process in which a female called Jari actively cope with the hardship of her life and then becomes reborn as a subjective female, and describing it with the ‘exceptional flashback’ and the reproduction method in which a privileged and certain moment is rejected. Such abstract and disintegrated ambiguity may be the aesthetics characterizing Edward Yang’s films. Then, He established his peculiar film aesthetics based on the continuous cinematic experiments and practices, and therefore, contributed to subliming the cinema to the art which it takes long time to closely read, rather than mere entertainment, by extending the time and space for the cinema.