문혁시기 중국의 북한영화 수용과 신세기 전후 중국영화 속의 잔영
China’s Acceptance of North Korean Films During the Cultural Revolution Period and It’s Afterimages in the Chinese New Century Films
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This paper explores the acceptance of North Korean films in China, especially the pessimistic aspect of the general public during the Cultural Revolution. At the time, the Chinese audience was so enthusiastic that the North Korean films also left afterimages of the Chinese Films about the Cultural Revolution which appeared around the New Century. What makes North Korean films so enthusiastically welcomed by Chinese audiences? Also, what is the significance of Chinese films dealing with North Korea's image of the Cultural Revolution in the post-modern era? Starting with these questions, this paper first examines the acceptance of North Korean films during the Cultural Revolution, and then traces the context and meaning of its appearance in a series of Cultural Revolution films released in China around the New Century. The films about the Cultural Revolution before and after the New Century, which will be covered by this paper, are works that reproduce the life history of the Cultural Revolution period in the way of Nostalgia and Kitsch under the influence of postmodernism. The exploratory gaze on the daily lives of these films, which are different from the existing meta-narrative, has given a new role to the image of North Korean films.
Abstract
This paper explores the acceptance of North Korean films in China, especially the pessimistic aspect of the general public during the Cultural Revolution. At the time, the Chinese audience was so enthusiastic that the North Korean films also left afterimages of the Chinese Films about the Cultural Revolution which appeared around the New Century. What makes North Korean films so enthusiastically welcomed by Chinese audiences? Also, what is the significance of Chinese films dealing with North Korea's image of the Cultural Revolution in the post-modern era? Starting with these questions, this paper first examines the acceptance of North Korean films during the Cultural Revolution, and then traces the context and meaning of its appearance in a series of Cultural Revolution films released in China around the New Century. The films about the Cultural Revolution before and after the New Century, which will be covered by this paper, are works that reproduce the life history of the Cultural Revolution period in the way of Nostalgia and Kitsch under the influence of postmodernism. The exploratory gaze on the daily lives of these films, which are different from the existing meta-narrative, has given a new role to the image of North Korean films.
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