경계를 횡단하기 위한 서사전략 -장률 영화를 중심으로-

Abstract

In this paper, it was focused on that the characters in director Zhang Lu’s films stand on ‘a boundary’. In most of his movies, attention has been paid to existential matters, in other words, life of Diaspora. Yet, in such a frame of analysis, his movies have been examined only from a particular aspect or in a category depending on time, and the changing contents of his movies haven’t been considered or analyzed diachronically. Accordingly, in this paper, Zhang Lu’s films were investigated from a diachronic viewpoint and the singularity in the movies was examined. The meaning of ‘a boundary’ as the study methodology of this thesis is not limited in the simple dichotomous scheme of mere Diaspora and the violence committed by those outside. Through diverse aspects of a boundary itself, a variety of conditions of Diaspora were examined. Zhang Lu himself was a person who existed with the unique feature of having the identity of Joseon, one of minority groups in China, and being an alien in Korea, simultaneously, and was good at expressing it through his films. In particular, he shows what impacts ‘a boundary’, which has been divided dichotomously, has on our life. In his early films, such as <Iri>(2008) and <Chongqing>(2007), the ambiguity of the characters living in the boundary of a city is reproduced, through which, the ‘overlapped people on the boundary’, for example, North Korean defectors or members of minority ethnic groups, are seen. Next, from <Gyeongju>(2014), to which the narration of dreams and death was introduced as an experiment to overcome the ambiguity of a boundary, to <Ode to the Goose>(2018) and <Fukuoka>(2019), in which the narration of fantastic dreams was developed as a way to neuter boundaries themselves, the boundaries in Zhang Lu’s movies were investigated. In addition, what a city is on a boundary and how people live in the city could be observed. In this way, through Zhang Lu’s movies, diverse imaginative possibilities beyond boundaries were to be caught in this paper. These possibilities are expected to open the door to a new narrative way of ‘getting together with dreams’, not a simple dreamlike structure ‘repeating a dream and the reality’, and therefore, to help understand director Zhang Lu’s various ways with ‘a boundary’.