영화 <5일의 마중(歸來)>의 문화대혁명 재고찰

Abstract

This study reviewed the film Coming Home(2014), the work of the fifth-generation director Zhang Yimou. This study looked at this film again, focusing on the fact that the fifth-generation directors have dealt with subjects such as the order of father and son, paternal rights and father through various metaphors based on their common experience of the Cultural Revolution. It is noteworthy that Feng Wanyu is the only character among the characters in which the wounds of the Cultural Revolution are exposed through the body. In particular, the wound appears as a memory impairment, and the wounds of the Cultural Revolution are not expressed in characters other than Feng Wanyu. In this respect, it can be seen that this film deliberately deletes the painful experiences of the Cultural Revolution. Lu Yanshi still exerts the power of paternity in this family, even though he has been absent for a long time due to the Cultural Revolution. Although Lu Yanshi was truly unable to return home due to his wife's disability, his letter became the voice of father and played a key role in the functioning of this family. In addition, his portrayal of characters close to perfect personality gives legitimacy for re-establishing the order of father and son, and this private paternity exerts stronger power than public paternity. Dandan, a generation of Red Guards, participated in the murder of her father during the period of the Cultural Revolution, but rather, she unexpectedly became a victim. After that, Dandan was able to return home through her father's forgiveness, and Dandan, who used to be a sub-subject, can stand again as a complete subject through the reconstruction of the order of father and son. These characters can be divided into generations of parents and sons, and the fact that the wounds and healing methods of these generations are described differently can reveal a new perception of the Cultural Revolution of the fifth-generation director.