개혁개방시기 吳貽弓 감독의 「城南舊事」를 통해 본 문학의 정치적 왜곡

Abstract

“My Memories of Old Beijing” is a film produced by Wu Yi-gong, the fourth generation film director in 1982. The original work of “My Memories of Old Beijing” is a novel, “Memories of Peking: South Side Stories(城南舊事)” by a woman writer, Lin Hai‐yin(林海音). This work, when Lin Ying‐zi(林英子), a young heroine, moved to Beijing in 1923 when she was five years old with her parents from the southern island of Taiwan, and from the moment, it is an omnibus‐style full‐length novel written and composed in chronological order, divided into five episodes of six years' experience of graduating from elementary school. Lin Hai‐yin, through her persona Lin Ying‐zi, vividly restored the lives, the memories of childhood, and the nostalgia of Beijing people in the 1920s. This novel is a typical work of the nostalgic reminiscence literature, which depicts the nostalgic reminiscence literature of the fatherland (China), and is considered the representative work of the nostalgic reminiscence literature in the Taiwanese literature history. It is perhaps natural that Lin Hai‐yin's “Memories of Peking: South Side Stories”, which stimulated the nostalgia of the ruling National Party and other provincial people who moved to Taiwan, was filmed in China. Wu Yi-gong emphasized the image of old Beijing by catching the theme of ‘nostalgic reminiscence', highlighting a composition of the hometown of Lin Hai‐yin = Beijing, Fatherland = China. In the film, the longing for Beijing and the nostalgic reminiscence consciousness were emphasized more than the original work. In this article, we attempt to look at the special historical context in which China dragged a work of an author of Taiwan, which was then a hostile state, and made a film. In addition, we compare the original novel with the film, and examine the changing aspect of the literary sensibility and content of the original work. This will be another example of bilateral exchanges and antagonisms across the strait in literature and film.