장이머우 영화에 나타난 현실의식의 문제점― 시공간의 대조를 중심으로

Abstract

The status of the fifth generation directors in China, has been changed remarkablely better than those days of their abrupt appearance in 1980's. The contents of their films, like narrative, style, also have been changed as well. This paper mainly talks about the condition and the causes of this change. In Zhang Yimou's early films, like [Red Sorghum], [Ju Dou], [Raise the Red Lantern], he used the old-Chinese images as a archetype to reflect the present-China, and he could manage to achieve a critical point of view that was like a triangular model composed with writer(director), old-China archetype, present-China. But in recent films, [Not One Less], [The Road Home], [Happy Times], Zhang went too near to present China that his critical point of view was no longer valid. One of the 6th generation directors, Wang Xiaoshuai's film [Beijing Bicycle] shows us a new type of critical view, by placing old-Chinese images among the present-Chinese images and making them disharmony. As Zhang has lost his critical point of view, it can be said that his recent films are nationalism films for present-China.