잃어버린 시간에 대한 성찰 - <山河故人>과 <江湖儿女>를 중심으로

Abstract

Jia Zhangke(贾樟柯) has dealt with the poor lives of people who are marginalized mainly due to the reform and opening and of lower-bracket workmen exposed to the capitalist violence. However, the movie titled Mountains May Depart(山河故人) in 2015 and the movie titled Ash Is Purest White(江湖儿女) in 2018 are addressing a flow of time, namely, from the past to the present or to the future by going back to the present while going further from the space of capitalism and industrialization that was mainly covered until before. The story was strengthened from the realism that had literally shown the reality of alienation and oppression in the existing movies. The camera, which had stayed in the hard life of the people in the lower class, is moving to the love between men and women. What's different from the existing movies is, above all, the point that is looking at the main characters’ love and their ups and downs for a long time. This study considered what the director intends to say in the meaning of time and in the place where time reaches that are shown in two movies. First of all, it contemplated the conflict and agony in the main characters who are put in a flow of time, and their lives that arrived at the end of time. And along with the development in capitalism, the lost traditional value, the identity crisis, and the lack of communication between father and son were clarified. Finally, Jia Zhangke’s new movie style was analyzed through parsing metaphoric devices such as ‘river,’ ‘key,’ ‘Seollal,’ ‘dumpling,’ ‘Guan Yu(關羽),’ ‘volcanic ash’ that are represented by the traditional values that appear in movies.