영화 「신여성」(1935)을 통해 본 상하이 좌익영화의 대중적 모더니즘
New Women(1935) and the Popular Modernism of the Shanghai Left-wing Cinema
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The purpose of this paper is to discuss the validity of the progressive themes in the Shanghai left-wing cinema of the 1930s as it examines the ways progressive themes and popular film styles coexisted in the film texts. To this end, the paper adopted the concept of “vernacular modernism” that was proposed by Miriam Hansen, who viewed the film media from the perspective of “sensory-reflexive horizon.” Taking the 1935 film New Women as the main subject of study, the paper first examines the point where the May Fourth agenda of women’s liberation collapses and the heroine is victimized within the visually articulated power structure. Next, the paper demonstrates that the socialist alternatives proposed by the film is not materialized with due complexity and subtlety, but nonetheless presented through sensorial methods. Overall, while the film New Women delicately constructs the complex horizon of experience associated with the petty bourgeois character Weiming, its rendering of the socialist alternatives is relatively abstract. However, it is difficult to say that this imbalance is caused by the popular attributes of the film media, or that this should be considered as the failure of the left-wing cinema. On the contrary, as the “sensory-reflexive horizon,” the film media has successfully expressed the dilemmas and difficulties of progressive subjects, and has, to a degree, materialized some of the still abstract socialist alternatives.
Abstract
The purpose of this paper is to discuss the validity of the progressive themes in the Shanghai left-wing cinema of the 1930s as it examines the ways progressive themes and popular film styles coexisted in the film texts. To this end, the paper adopted the concept of “vernacular modernism” that was proposed by Miriam Hansen, who viewed the film media from the perspective of “sensory-reflexive horizon.” Taking the 1935 film New Women as the main subject of study, the paper first examines the point where the May Fourth agenda of women’s liberation collapses and the heroine is victimized within the visually articulated power structure. Next, the paper demonstrates that the socialist alternatives proposed by the film is not materialized with due complexity and subtlety, but nonetheless presented through sensorial methods. Overall, while the film New Women delicately constructs the complex horizon of experience associated with the petty bourgeois character Weiming, its rendering of the socialist alternatives is relatively abstract. However, it is difficult to say that this imbalance is caused by the popular attributes of the film media, or that this should be considered as the failure of the left-wing cinema. On the contrary, as the “sensory-reflexive horizon,” the film media has successfully expressed the dilemmas and difficulties of progressive subjects, and has, to a degree, materialized some of the still abstract socialist alternatives.
참고문헌 (20)
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