영화《인생(活着)》: 중국현대사에 대한 준엄하고 따뜻한 통찰
The movie Life(活着): The rigorous but sympathetic insight through modern Chinese history
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초록
This thesis studied Zhang Yi mou's representative movie Life(活着) focusing on two aspects. One of them is 'rigorous but sympathetic insight through modern Chinese history' and the other is 'description well matched to Chinese people's character'. 'Description well matched to Chinese people's character' means 'allusive remark instead of talking directly', and in other words this is what Luxun defined as general way of expression in all literature: 'symbolism in broad meaning'. The technique or art of communication expressing the idea by 'between the lines' and understanding what it really means nonetheless is one of the important keys to understand Chinese people's character and Chinese culture. At this point of view, the movie Life can be read as not only personal history of Fugui(福貴) who led rough and tragic life in the middle of upheaval Chinese history, but the history of whole Chinese people who underwent modern Chinese history full of tragic incidents. It was discussed and analyzed how Zhang Yi mou used 'symbolism in broad meaning' in his movie Life and why. The differences and similarities between the movie Life directed by Zhang Yi mou and the novel Life written by Yuhua(余華) were also considered in this thesis. Both the novel and the movie described the fortune of a man who got through turbulent times. But the novel stressed Fugui's philosophical reflection about his life after suffering all the unfortunate things happened through his lifetime, the movie emphasized socio-historical experience of Chinese people represented by Fugui and his family amid fluctuation of Chinese history.
Abstract
This thesis studied Zhang Yi mou's representative movie Life(活着) focusing on two aspects. One of them is 'rigorous but sympathetic insight through modern Chinese history' and the other is 'description well matched to Chinese people's character'. 'Description well matched to Chinese people's character' means 'allusive remark instead of talking directly', and in other words this is what Luxun defined as general way of expression in all literature: 'symbolism in broad meaning'. The technique or art of communication expressing the idea by 'between the lines' and understanding what it really means nonetheless is one of the important keys to understand Chinese people's character and Chinese culture. At this point of view, the movie Life can be read as not only personal history of Fugui(福貴) who led rough and tragic life in the middle of upheaval Chinese history, but the history of whole Chinese people who underwent modern Chinese history full of tragic incidents. It was discussed and analyzed how Zhang Yi mou used 'symbolism in broad meaning' in his movie Life and why. The differences and similarities between the movie Life directed by Zhang Yi mou and the novel Life written by Yuhua(余華) were also considered in this thesis. Both the novel and the movie described the fortune of a man who got through turbulent times. But the novel stressed Fugui's philosophical reflection about his life after suffering all the unfortunate things happened through his lifetime, the movie emphasized socio-historical experience of Chinese people represented by Fugui and his family amid fluctuation of Chinese history.
참고문헌 (12)
- 余華, "活着" (1992), 上海文藝出版社
- 위화, "살아간다는 것" (1997), 푸른숲
- 슈테판 크라머, "중국영화사" (2000), 이산
- 후지이 쇼조, "현대 중국, 영화로 가다" (2001), 지호
- 인홍, "중국 영상문화의 이해" (2002), 학고방
- 레이 초우, "원시적 열정" (2004), 이산
- 한국중국현대문학학회, "영화로 읽는 중국" (2006), 동녘
- 이욱연, "중국이 내게 말을 걸다" (2008), 창비
- 한국중국현대문학학회, "중국영화의 이해" (2008), 동녘
- 김언하, "루쉰의 문학 세계와 광기 주제", 중어중문학, 35 (2004)
- 沈文慧, "存在之思???之痛－－余?????的?? 活着", 影价 (2008)
- 王际峰, "人是命?的玩偶--?影《活着》中皮影意象解?", 影价, 20 (2007)