중국 B급 코미디의 흥행과 글로벌 콘텐츠로의 발전 가능성 ― 카이신마화(開心麻花)를 예로

Abstract

Through the two films mentioned in the text, “Goodbye Mr. Loser” and “Never Say Die,” the characteristics and excursiveness of Mahua Fun Age films can be summarized as follows. These two films draw the audience into the movie convention of slapstick comedy through the apparatus of ‘time slip’ and ‘body change’ in terms of narrative. In addition, they operate a popular and stable narrative that can easily reach the audience, and in terms of subject matter, they lead to a stable ending by aiming for universal human values such as the pursuit of true love. In terms of directing, they create a laughing point for the audience by using exaggerated acting, exaggerated directing techniques, and cameras of slapstick comedy. That is to say, it can be said that their films stably attract the audience through the operation of stable and familiar narratives and the directing technique of slapstick comedy. In this respect, the narrative and direction of Mahua Fun Age is not only within China, but it can also be said to be open to global audiences accustomed to slapstick comedy. However, the pun (linguistic play), which doubles the fun of movies to audiences within China, or the operation of narratives that have the background of popular culture can act as a factor blocking the influx of global audiences. This can also be said to be a limitation of a feature film with a narrative. Although a universal and plain narrative makes it easy to attract a global audience, as stable as it is, fun can be halved. The directing of laughter through pun (linguistic play) or the narrative set in a specific culture can give a big laugh to a specific audience, but it cannot secure universality.