Expression and Prohibition of Desire: Cinematic Representation of Dreams as Alternative Aesthetics in Modern Chinese Film
0
조회
0
다운로드
0
인용
0
참고문헌
키워드
초록
This article examines dreams in an array of Chinese films, ranging from popular to modernist, that emerged in several transformative historical moments from the post-May Fourth period of the 1920s through the Reform Era of the 1980s. Through the contextualisation of film dreams, this article explores how oneiric representation waxed and waned in relation to the changing status of realism as aesthetic orthodoxy in the Chinese context. During the journey of emergence, deprivation, and return on the Chinese screen, film dreams become socialised and allegorised in a particular period as a symptom or index of a broader historical reality to which they respond or that they reflect. This article therefore argues that film dreams touched upon the kernel of historic situations and ideology in a way that had not yet reached a universal moment in realist representation.
Abstract
This article examines dreams in an array of Chinese films, ranging from popular to modernist, that emerged in several transformative historical moments from the post-May Fourth period of the 1920s through the Reform Era of the 1980s. Through the contextualisation of film dreams, this article explores how oneiric representation waxed and waned in relation to the changing status of realism as aesthetic orthodoxy in the Chinese context. During the journey of emergence, deprivation, and return on the Chinese screen, film dreams become socialised and allegorised in a particular period as a symptom or index of a broader historical reality to which they respond or that they reflect. This article therefore argues that film dreams touched upon the kernel of historic situations and ideology in a way that had not yet reached a universal moment in realist representation.
참고문헌 (80)
- "A Drunkard’s Dream", Vision d’ivrogne; Georges Méliès, ~ (1897)
- "The Artist’s Dream", Rêve d’artiste; Georges Méliès, ~ (1898)
- "Dream of the Ballet Master", Le Rêve du maître de ballet; Georges Méliès, ~ (1903)
- "Dream of an Opium Fiend", Le Rêve d’un fumeur d’opium; Georges Méliès, ~ (1908)
- "The Bank", Charlie Chaplin, ~ (1915)
- "Shoulder Arms", Charlie Chaplin, ~ (1918)
- "The Cabinet of Dr. Caligari", Das Cabinet des Dr. Caligari; Robert Wiene, ~ (1920)
- "Spring Dream by the Lake", Hubian chunmeng 湖邊春夢; Bu Wancang 卜萬倉, ~ (1927)
- "The Romance of the Western Chamber", Xixiang ji 西廂記; Hou Yao 侯曜, ~ (1927)
- "Burning of the Red Lotus Temple", Huoshao hongliansi 火燒紅蓮寺; Zhang Shichuan 張石 川, ~ (1928)
- "Blood on Wolf Mountain", Langshan diexue ji 狼山喋血記; Fei Mu 費穆, ~ (1936)
- "Broken Dreams in the Women’ s Chamber", Chungui duanmeng 春閨斷夢; Fei Mu 費穆, ~ (1937)
- "Crossroads", Shizi jietou 十字街頭; Shen Xiling 沈西苓, ~ (1937)
- "The Symphony of Lianhua", Lianhua jiaoxiangqu 聯華交響曲; Situ Huimin 司徒慧敏, Fei Mu 費穆, Tan Youliu 譚友六, Shen Fu 沈浮 and He Mengfu 賀孟斧, ~ (1937)
- "The Great Dictator", Charlie Chaplin, ~ (1940)
- "The Winter of Three Hairs", Sanmao liulang ji 三毛流浪記; Zhao Ming 趙明 and Yan Gong 嚴恭, ~ (1949)
- "The Life of Wu Xun", Wuxun zhuan 武訓傳; Sun Yu 孫瑜, ~ (1950)
- "Red Desert", Il deserto rosso; Michelangelo Antonioni, ~ (1964)
- "A Sparking Red Star", Shanshan de hongxing 閃閃的紅星; Li Jun 李俊 and Li Ang 李昂, ~ (1974)
- "Troubled Laughter", Kunaoren de xiao 苦惱人的笑; Yang Yanjin 楊延晉 and Deng Yimin 鄧一民, ~ (1979)
- "Little Flower", Xiao hua 小花; Huang Jianzhong 黃健中, ~ (1979)
- "Reverberations of Life", Shenghuo de chanyin 生活的顫音; Teng Wenji 滕文驥, ~ (1979)
- "Unrequited Love", Kulian 苦戀; Peng Ning 彭寧, ~ (1980)
- "The Drive to Win", Sha’ou 沙鷗; Zhang Nuanxin 張暖忻, ~ (1981)
- "Neighbours", Linju 鄰居; Zheng Dongtian 鄭洞天 and Xu Gumin 徐穀明, ~ (1981)
- "Sunset Street", Xizhaojie 夕照街; Wang Haowei 王好為, ~ (1983)
- "Yamaha Fish Stall", Yamaha yudang 雅馬哈魚檔; Zhang Liang 張良, ~ (1984)
- "The Black Cannon Incident", Heipao shijian 黑炮事件; Huang Jianxin 黃建新, ~ (1985)
- "Dislocation", Cuowei 錯位; Huang Jianxin 黃建新, ~ (1986)
- "Visions from a Jail Cell", Moku zhong de huanxiang 魔窟中的幻想; Wang Jixing 王冀邢, ~ (1986)
- "The Daydream", Yixiang tiankai 異想天開; Wang Weiyi 王為一, ~ (1986)
- "Death Visits the Living", Yige sizhe dui shengzhe de fangwen 一個死者對生者的訪問; Huang Jianzhong 黃健中, ~ (1987)
- "Red, White and Black Rooms", Hong fangjian, baifangjian, heifangjian 紅房間、白房間、黑 房間; Song Jiangbo 宋江波, ~ (1988)
- "Filmmakers", Dianyingren 電影人; Ding Yinnan 丁蔭楠, ~ (1988)
- Anderson, Marston, "The Limits of Realism: Chinese Fiction in the Revolutionary Period" (1990), University of California Press
- Bazin, André, "What is Cinema? Vol. 1" (2005), University of California Press
- Berry, Chris, "Chinese Urban Cinema: Hyper-realism versus Absurdism", East- West Film Journal, 3(1), pp.77~88 (1988)
- Berry, Chris, "Postsocialist Cinema in Post-Mao China: The Cultural Revolution after the Cultural Revolution" (2004), Routledge
- Berry, Chris, "Cinematic Landscape: Observations on the Visual Arts and Cinema of China and Japan", pp.81~116 (1994), University of Texas Press
- "1979", 9
- Chan, Roy, "The Edge of Knowing: Dreams, History, and Realism in Modern Chinese Literature" (2017), University of Washington Press
- "1915", 1(3)
- "1917", 2(6)
- Cheng Jihua 程季華, (1963), Zhongguo Dianying Chubanshe
- Deamer, David, "Deleuze, Japanese Cinema, and the Atom Bomb: The Specter of Impossibility" (2014), Bloomsbury
- Deleuze, Gilles, "Cinema II: The Time-image" (2013), Bloomsbury
- Foucault, Michel, "Dream, Imagination and Existence: An Introduction to Ludwig Binswanger’s Dream and Existence", Review of Existential Psychology and Psychiatry, XIX(1), pp.31~78 (1984)
- Gunning, Tom, "The Cinema of Attraction: Early Film, Its Spectator, and the Avant-garde", Wide Angle, 8(3–4), pp.63~70 (1986)
- Gunning, Tom, "D. W. Griffith and the Origins of American Narrative Film: The Early Years at Biograph" (1994), University of Illinois Press
- Harbsmeier, Christoph, "Science and Civilization in China, vol. 7, part 1: Language and Logic" (1998), Cambridge University Press
- Harris, Kristine, "Cinema and Urban Culture in Shanghai, 1922–1943", pp.51~73 (1999), Stanford University Press
- "1927", 7
- "1917", 2(5)
- Jung, Carl, "Psychological Types" (2017), Routledge
- Kaldis, Nicolas, "Huang Jianxin’s Cuowei and", as Aesthetic Cognition, 1999, pp.7(2), 421~457
- Larson, Wendy, "From Ah Q to Lei Feng: Freud and Revolutionary Spirit in 20th Century China" (2009), Stanford University Press
- "2001", 1
- "1990", 1
- Ma, Ning, "Chinese Film: The State of the Art in the People’s Republic", pp.63~106 (1993), Praeger
- Mathewson, Rufus, "The Positive Hero in Russian Literature" (2000), Northwestern University Press
- McGrath, Jason, "Realism", Journal of Chinese Cinemas, 10(1), pp.20~23 (2016)
- Metz, Christian, "‘Trucage’ and the Film", Critical Inquiry, 3(4), pp.657~675 (1977)
- "2008", 6
- Pickowicz, Paul, "New Chinese Cinemas: Form, Identities, Politics", pp.57~87 (1994), Cambridge University Press
- Powell, Anna, "Deleuze, Altered States and Film" (2007), Edinburgh University Press
- Rodowick, D. N., "Difficulty of Difference: Psychoanalysis, Sexual Difference and Film Theory" (2014), Routledge
- Strassberg, Richard, "Wandering Spirits : Chen Shiyuan’s Encyclopedia of Dreams" (2008), University of California Press
- "1950", ~
- "1952", ~
- "1927", 5
- "1930", 1
- "2008", 12
- Yang, Xiaobin, "The Chinese Postmodern: Trauma and Irony in Chinese Avant-garde Fiction" (2002), The University of Michigan Press
- Zhang, Jingyuan, "Psychoanalysis in China: Literary Transformations, 1919–1949" (1992), East Asia Program, Cornell University
- "1979", 3
- Zhang, Zhen, "An Amorous History of the Silver Screen: Shanghai Cinema, 1896–1937" (2005), University of Chicago Press
- "1980", 2
- "1987", 1
