동시대 중국 블록버스터 영화 속 ‘미국’이라는 문제— 「지취위호산」(2014), 「전랑2」(2017), 「장진호」(2021)의 경우
The Problematic of ‘America’ in Contemporary Chinese Blockbuster Films: In the Cases of The Taking of Tiger Mountain, Wolf Warrior 2, and The Battle of Lake Changjin
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Over the last decade, so-called “main-melody blockbuster” movies have dominated the film market in China. Since the early 2000s, the main-melodization of commercial films or the commercialization of main-melody films has been very widespread since the 2010s. In particular, war movies were a very suitable genre for the re-emergence of the existing main-melody movies as commercial blockbusters. Directed by Hong Kong filmmaker Tsui Hark in 2014, The Taking of Tiger Mountain is a representative example of a commercial remake of the previous main-melody work. During the Cultural Revolution, model drama(yangbanxi) reappeared as a 3D blockbuster movie in China in the 2014, and the movie becomes a huge commercial success. Wolf Warrior 2, which appeared in 2017, created a social and cultural phenomenon by rewriting China’s all-time box office records. The emergence of Wolf Warrior 2 has caused such a stir that it has even caused a change in a diplomatic line to urge China to enhance its international status. In addition, the commercial success of Wolf Warrior 2 triggered discussions that Chinese commercial films had entered the stage of new blockbuster movies. The remarkable commercial success of Wolf Warrior 2, which seemed to be hard to break, was renewed with the advent of The Battle at Lake Changjin in 2021. The commercial success of this film based on the Korean War, seems very meaningful in that it has completely strengthened the confrontation with the United States. This film clearly shows a new style and theme of Chinese new blockbuster films through the story of winning against the U.S. under the banner of “the war to resist US aggression and aid Korea(kangmeiyuanchao)” war. The three films show the characteristics of new blockbuster films that convey the themes of previous main-melody films through Hollywood-style. In other words, Chinese new blockbuster films reveal an irony of conveying the content of rejecting “America” by American style. Although the problematic of “America” in each film varies somewhat depending on the situation of the times, and the problematic of “America” serves as a necessary condition of the establishment of contemporary Chinese blockbusters.
Abstract
Over the last decade, so-called “main-melody blockbuster” movies have dominated the film market in China. Since the early 2000s, the main-melodization of commercial films or the commercialization of main-melody films has been very widespread since the 2010s. In particular, war movies were a very suitable genre for the re-emergence of the existing main-melody movies as commercial blockbusters. Directed by Hong Kong filmmaker Tsui Hark in 2014, The Taking of Tiger Mountain is a representative example of a commercial remake of the previous main-melody work. During the Cultural Revolution, model drama(yangbanxi) reappeared as a 3D blockbuster movie in China in the 2014, and the movie becomes a huge commercial success. Wolf Warrior 2, which appeared in 2017, created a social and cultural phenomenon by rewriting China’s all-time box office records. The emergence of Wolf Warrior 2 has caused such a stir that it has even caused a change in a diplomatic line to urge China to enhance its international status. In addition, the commercial success of Wolf Warrior 2 triggered discussions that Chinese commercial films had entered the stage of new blockbuster movies. The remarkable commercial success of Wolf Warrior 2, which seemed to be hard to break, was renewed with the advent of The Battle at Lake Changjin in 2021. The commercial success of this film based on the Korean War, seems very meaningful in that it has completely strengthened the confrontation with the United States. This film clearly shows a new style and theme of Chinese new blockbuster films through the story of winning against the U.S. under the banner of “the war to resist US aggression and aid Korea(kangmeiyuanchao)” war. The three films show the characteristics of new blockbuster films that convey the themes of previous main-melody films through Hollywood-style. In other words, Chinese new blockbuster films reveal an irony of conveying the content of rejecting “America” by American style. Although the problematic of “America” in each film varies somewhat depending on the situation of the times, and the problematic of “America” serves as a necessary condition of the establishment of contemporary Chinese blockbusters.
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