허우샤오셴(侯孝賢) 영화 <해상화(海上花)>에 나타나는 중층적 공간의식

Abstract

Hou Hsiao-hsien's consciousness of the urban space of ‘Shanghai’ takes place on two levels: tradition and modernity, ethnicity and the outside. For the director, Shanghai is confused by the invasion of external forces, but it is still a city where the traditional spirit is preserved and economically developed. Therefore, Shanghai, which is the background of the film, reflects the director's desire for Taiwanese society. In other words, by replacing Taiwan's practical problems that experienced rapid industrialization with Shanghai's “beautiful collective memory” space, he tried to restore the character of the Taiwanese and find answers to the present prospects for history. As such, the concession of Shanghai at the end of the Qing Dynasty is an Allegory space for Taiwanese society in the 90s. The layered consciousness of Shanghai as the outer space of the film leads to the main stage in the work, the brothel and the room of the jinü. The superficial meaning of the structure and room revealed in the work is ‘closed‘. However, when acknowledging the ambivalence of space, the closed space includes openness. As a result, the space in the movie has room for openness, and the women who spend their daily lives in it have hope to move forward. Openness to space further leads to subversion of the meaning of space. Accordingly, the brothel becomes a space for women's free love, not for men's play, and a space for finding subjectivity and enabling economic activities, not living and staying. If Shanghai, the outer space of the movie, represents Taiwanese society in a macro manner, the brothel and the room of the jinü are also internal elements that make up the outer space, and if a positive interpretation of it is possible, a positive perception of Taiwanese society's reconstruction will be possible.