애니메이션 <신서유기:몽키킹의 부활(大聖歸來)>로 살펴본 포스트 혁명시대의 중국식 슈퍼히어로 - 손오공 형상을 중심으로

Abstract

This research takes the 2015 Chinese film Monkey King: Hero Is Back as its subject, analyzing the image of Sun Wukong, which changes with the passage of time encompassing the past, present, and future. First, in an animation film called Havoc in Heaven, Sun Wukong’s rebellion is affirmed as to rebel is justified by the new socialist man. In Monkey King: Hero Is Back, Jiang Liuer’s father remembers Sun Wukong’s behavior as disruptive of the Heavenly Palace, which reflects a new attitude toward the Mao Era. Through R. Barthest’s conception of mythologies, we can argue that the scenes in Monkey King: Hero Is Back that are similar to those in Havoc in Heaven represent a fresh evaluation of the Mao Era. In addition, unlike the original works, Monkey King features a historical background of its influential relationship with Havoc, indicates that the present is still imagined as a post-revolutionary era. Second, a helpless Sun Wukong is labeled a “monkey” by Zhu Bajie, whereas Jiang Liuer called him of “Great Sage.” It reflects the subject and the self in Lacan’s symbolic realm, the imaginative realm. Sun Wukong, who wears the tightening spell of golden headband, is merely a monkey, but Jiang Liuer believes that Sun Wukong can save children and bring peace to the village. In the end, mourning the passing of Jiang Liuer, Sun Wukong becomes the “Great Sage” that he had hoped for. In the past, he was an Übermensch with great power. But with guidance from Jiang Liuer, he transforms into a superhero who hopes to embody justice through this power. As a people’s hero, Jiang Liuer, although lacking outstanding strength and a good identity, correctly guides Sun Wukong. Thereby, the superhero “Great Sage” become a new Chinese hero.