‘희생양’ 개념으로 <나의 붉은 고래> 다시 읽기 ― 누가 홍수를 일으켰는가
Rereading <Big Fish & Begonia>: Who Caused the Great Flood?
0
조회
0
다운로드
0
인용
0
참고문헌
키워드
초록
<Big Fish & Begonia> occupies an important place in the series of animations based on Chinese “traditional culture”. It can be seen as the beginning of a trend of 21st century blockbuster animations based on traditional Chinese themes. The main female character, Chun, has often been interpreted as a frustrating figure who brings disaster to the village, but René Girard's concept of the scapegoat allows us to see exactly what her actions and sacrifices truly mean. Chun and her companian Kun are typical scapegoats, persecuted for the sake of maintaining the community of the undersea world, while the crisis of the undersea world has, in fact, nothing to do with them. Just as the People's Republic of China ostracizes 'Others' and harshly criticizes interactions with them in order to maintain its own identity and integrity, so too are Chun and Kun ostracized for breaking taboos. But in the end, the scapegoat mechanism usually ends up making the scapegoat sacred and sublime. Just like Chun and Kun joined hands to move forward into a new world, true overcoming and progress will only be possible through selfless sacrifice and open communication with Others. And it all starts with realizing that it was never Chun and Kun who caused the flood and disaster in the first place.
Abstract
<Big Fish & Begonia> occupies an important place in the series of animations based on Chinese “traditional culture”. It can be seen as the beginning of a trend of 21 st century blockbuster animations based on traditional Chinese themes. The main female character, Chun, has often been interpreted as a frustrating figure who brings disaster to the village, but René Girard’s concept of the scapegoat allows us to see exactly what her actions and sacrifices truly mean. Chun and her companian Kun are typical scapegoats, persecuted for the sake of maintaining the community of the undersea world, while the crisis of the undersea world has, in fact, nothing to do with them. Just as the People’s Republic of China ostracizes ‘Others’ and harshly criticizes interactions with them in order to maintain its own identity and integrity, so too are Chun and Kun ostracized for breaking taboos. But in the end, the scapegoat mechanism usually ends up making the scapegoat sacred and sublime. Just like Chun and Kun joined hands to move forward into a new world, true overcoming and progress will only be possible through selfless sacrifice and open communication with Others. And it all starts with realizing that it was never Chun and Kun who caused the flood and disaster in the first place.
참고문헌 (19)
- 르네 지라르, "희생양" (2007), 민음사
- 고윤실, "애니메이션 『대어⋅해당(大魚海棠)』 읽기 ― 중화민족 기원서사의 재구성과 당대 중국 관방이데올로기의 재현", 중국현대문학, 83 (2017)
- 문단, "중국 애니메이션 학파에 나타난 민족 의식 : 배경화법 공간을 중심으로", 반영과 재현, 7 (2024)
- 배주애, "전통문화를 통한 중국 애니메이션의 재도약", 중국학논총, 82 (2024)
- 서한풍, "중국 애니메이션 <나의 붉은 고래: 대어해당(大漁海棠)> 속 캐릭터의 중국전통문화 형태적 요소 분석 연구", 만화애니메이션연구, 59 (2020)
- 양곤, "중국 애니메이션 <대어해당(大魚海棠)> 중에 나타난 전통미학 특징 연구 - 쭝바이화(宗白華)의 의경(意境) 3가지 구성 요소 중심으로", 만화애니메이션연구, 47 (2017)
- 양량, "‘중국 애니메이션 학파’의 민족적 특징에 관한 연구", 만화애니메이션연구, 59 (2020)
- 왕시아오리, "<대어해당> 중 중국전통문화의 응용에 대한 간략 분석", 한국엔터테인먼트산업학회논문지, 13(5) (2019)
- 왕위안쉐, "중국 애니메이션 <대어해당(大魚海棠)>에 재현된 ‘소요유(逍遙遊)’ 사상과 신화 캐릭터의 현대적 변용", 애니메이션연구, 13(4) (2017)
- 임대근, "‘트랜스 아이덴티티’의 개념과 유형", 외국문학연구, 62 (2016)
- 정원대, "한중 문화교류의 매개체로서의 <나의 붉은 고래(大鱼海棠)>", 애니메이션연구, 17(4) (2021)
- 陈立得, "『大鱼海棠』的海洋意象探析", 戏剧之家, (5) (2024)
- 黄汀, "水墨幻梦: 『大鱼海棠』中的中国传统艺术表现与当代动画创新", 芒种, (12) (2023)
- 李文剑, "浅析国产动画电影『大鱼海棠』中的价值观构建", 戏剧之家, (28) (2021)
- 王婷婷, "『大鱼海棠』与『千与千寻』对比研究", 名家名作, (8) (2021)
- 吴光宇, "中国传统文化在动画角色设计中的应用——以 『大鱼海棠』为例", 流行色, (3) (2022)
- 武艳霞, "电影『大鱼海棠』海外接受度研究", 外语教育与翻译发展创新研究, (11) (2022)
- 许河, "中国传统文化元素在动画电影中的运用分析——以『大鱼海棠』为例", 明日风尚, (10) (2022)
- 张艺, "动漫电影『大鱼海棠』蕴含的优秀传统文化解读", 作家天地, (21) (2023)