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중국 ‘左翼영화’의 匿名과 正名

Anonymity and Naming of Chinese ‘Left-wing Cinema’

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한국중국현대문학학회 (The Korean Society Of Modern Chinese Literature)|2013.09|중국현대문학 (The Journal of Modern Chinese Literature)|제66호|pp. 83-127

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참고문헌

키워드

Left-wing CinemaEmerging filmProgressive filmNew film
주제분류중국어와문학

초록

It has been so natural that films which were made between the early 1930s and the Sino-Japanese War were totally called ‘Left-wing cinema' in the history of Chinese films. But a term,‘Left-wing Cinema', in the history of Chinese films was replaced by new headwords in books on Chinese films around a centenary celebration of Chinese films(2005). Furthermore, it was begun to narrator concepts such as ‘Emerging film', ‘Progressive film' and ‘New film'. So it is clear that ‘Left Cinema' is stem from ideological bias of the political history or lack of historical area of the history of Chinese films. This time was a turning point of the history of Chinese films ―a series of political, historical and cultural events: 4. 12anticommunism coup in 1927, the worst period of disunity within the Kuomintang and Chinese Communist Party, and the establishment of Nanjing national government. Chinese sociocultural environment was overflowing with anti-imperialism and strong nationalism which desire big challenge cause of ensuing Japanese invasion(1931. 9. 18 / 1932. 1. 28). But conservatism of Nanjing national government couldn't give the satisfaction to intellectual youths inspired by global leftism. Ironically this kind of gloomy situation made American films gain tremendous popularity in Shanghai. Even though some of the “Chinese Left-wing Writer's Association”played a certain role in the Cinema, new conditions of film making were promoted a good environment for progressive film. In a context of this, some of writers from “Chinese Left-wing drama writer's Association”, which is sub-structure of “Chinese Left-wing Writer's Association”, participated in various activities like creation of film scripts, announcement of Left-wing ideological criticism and introduction of Soviet's film theories. But it was not full enough to reach a conclusion that cinema of Shanghai in 1930's was all 'Left-wing Cinema'. So if we followed historical records of China or East Asian Left-wing in those days, we can call cinema in the early 1930s ‘Emerging Film' and it can also be called ‘Progressive Film' in terms of the frequency of the predicate verb. In a way it can be called ‘Realism Film' from an esthetic point of view(technical visual arts or the trend of literature).

Abstract

It has been so natural that films which were made between the early 1930s and the Sino-Japanese War were totally called ‘Left-wing cinema' in the history of Chinese films. But a term,‘Left-wing Cinema', in the history of Chinese films was replaced by new headwords in books on Chinese films around a centenary celebration of Chinese films(2005). Furthermore, it was begun to narrator concepts such as ‘Emerging film', ‘Progressive film' and ‘New film'. So it is clear that ‘Left Cinema' is stem from ideological bias of the political history or lack of historical area of the history of Chinese films. This time was a turning point of the history of Chinese films ―a series of political, historical and cultural events: 4. 12anticommunism coup in 1927, the worst period of disunity within the Kuomintang and Chinese Communist Party, and the establishment of Nanjing national government. Chinese sociocultural environment was overflowing with anti-imperialism and strong nationalism which desire big challenge cause of ensuing Japanese invasion(1931. 9. 18 / 1932. 1. 28). But conservatism of Nanjing national government couldn't give the satisfaction to intellectual youths inspired by global leftism. Ironically this kind of gloomy situation made American films gain tremendous popularity in Shanghai. Even though some of the “Chinese Left-wing Writer's Association”played a certain role in the Cinema, new conditions of film making were promoted a good environment for progressive film. In a context of this, some of writers from “Chinese Left-wing drama writer's Association”, which is sub-structure of “Chinese Left-wing Writer's Association”, participated in various activities like creation of film scripts, announcement of Left-wing ideological criticism and introduction of Soviet's film theories. But it was not full enough to reach a conclusion that cinema of Shanghai in 1930's was all 'Left-wing Cinema'. So if we followed historical records of China or East Asian Left-wing in those days, we can call cinema in the early 1930s ‘Emerging Film' and it can also be called ‘Progressive Film' in terms of the frequency of the predicate verb. In a way it can be called ‘Realism Film' from an esthetic point of view(technical visual arts or the trend of literature).

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관련 논문AI추천

1930년대 ‘상하이 영화’와 ‘중국 영화’의 형성노정은, 임대근한국중국현대문학학회 · 중국현대문학2009 · 제48호1930～40년대 상하이 영화의 양가성 연구진성희한국중국소설학회 · 중국소설논총2013 · 제40호사회주의 중국의 문예정책과 영화비평의 정치학임대근중국문화연구학회 · 중국문화연구2020 · 제48호좌익영화의 멜로드라마 정치-1930년대 상하이 대중문화 형질 ― 1930년대 상하이 대중문화 형질박자영한국중국현대문학학회 · 중국현대문학2005 · 제33호‘선전’과 ‘오락’의 변주― 1930년대 상하이 좌익계열 영화의 미적 허위성노정은한국중국현대문학학회 · 중국현대문학2007 · 제41호영화 「신여성」(1935)을 통해 본 상하이 좌익영화의 대중적 모더니즘이현정한국중국현대문학학회 · 중국현대문학2019 · 제89호

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