‘올드 상하이’ 노스탤지어 - 롼링위를 중심으로
“Old Shanghai" Nostalgia: Focusing on Chinese Legendary Actress Ruan Linyu 阮玲玉(1910-1935)
0
조회
0
다운로드
3
인용
0
참고문헌
키워드
초록
The purpose of this study is to illustrate the tragic life of Ruan Linyu 阮玲玉(1910-1935), a legendary movie star in the history of Chinese film, especially focusing on her representative films and the role of depicting women's miseries in those films. While portraying a full of her charming beauty as an accomplished actress and accommodating significantly the cinematic agenda of gender discrimination for women in 1930s Shanghai, she has been regarded as a symbol of people's nostalgia for the 1930s "Old Shanghai"' This study also focuses on analysing her two silent films The New Woman 新女性(1934) and Goddess 神女(1934) with their female characters. The character Wei Ming, a school teacher as well as a woman writer, that Lingyu portrayed in The New Woman has been regarded as the symbol of women's tragedy over their powerless economic position vis-a'-vis Chinese traditional patriarchal forces. In Goddess, she performed a noble-minded mother and a lowly prostitute, expressing her special aura of sensitivity and sensuality. The specific image of prostitute frequently appeared in the 1930s Shanghai film world is a creative metaphor that illustrates the oppression of women and even the Old Shanghai. Both The New Woman and Goddess seem to give the impression that Chinese women's social position and economic independence in 1930s Shanghai proves more formidable than reality. Viewed in this light, it goes without saying that this theme and the characters she portrayed is still the shadow of Old Shanghai as a bustling cosmopolitan metropolis in 1930.
Abstract
The purpose of this study is to illustrate the tragic life of Ruan Linyu 阮玲玉(1910-1935), a legendary movie star in the history of Chinese film, especially focusing on her representative films and the role of depicting women's miseries in those films. While portraying a full of her charming beauty as an accomplished actress and accommodating significantly the cinematic agenda of gender discrimination for women in 1930s Shanghai, she has been regarded as a symbol of people's nostalgia for the 1930s "Old Shanghai"' This study also focuses on analysing her two silent films The New Woman 新女性(1934) and Goddess 神女(1934) with their female characters. The character Wei Ming, a school teacher as well as a woman writer, that Lingyu portrayed in The New Woman has been regarded as the symbol of women's tragedy over their powerless economic position vis-a'-vis Chinese traditional patriarchal forces. In Goddess, she performed a noble-minded mother and a lowly prostitute, expressing her special aura of sensitivity and sensuality. The specific image of prostitute frequently appeared in the 1930s Shanghai film world is a creative metaphor that illustrates the oppression of women and even the Old Shanghai. Both The New Woman and Goddess seem to give the impression that Chinese women's social position and economic independence in 1930s Shanghai proves more formidable than reality. Viewed in this light, it goes without saying that this theme and the characters she portrayed is still the shadow of Old Shanghai as a bustling cosmopolitan metropolis in 1930.
참고문헌 (16)
- 정재서, "원시적 열정: 시각, 섹슈얼리티, 민조기, 현대중국영화" (2004), 이산
- 한국 중국현대문학학회, "영화로 읽는 중국" (2006), 동녘
- 李歐梵, "상하이 모던―새로운 중국 도시 문화의 만개, 1930-1945" (2007), 고려대학교출판부
- 임대근, "1930년대 ‘상하이 영화’와 ‘중국 영화’의 형성", 중국현대문학, (48), pp.91~111 (2009), 한국중국현대문학학회
- 佳明, "從小婢女到一代藝人--阮玲玉的生活和藝術", 電影藝術(中國期刊全文數据庫) (1985)
- 谷雨, "影星阮玲玉自殺事件", 縱橫(中國期刊全文數据庫) (2003)
- 朱怡森, "一曲女性的悲歌--解讀電影≪阮玲玉≫", 南京師範大學文學院學報 (2006)
- 于繼增, "一代影星阮玲玉遺書之謎", 文史精華 (2006)
- 于鷺飛, "Ruan Lingyu-A Life Full of Beauty and Sorrow 阮玲玉: 美麗與哀愁", Women of China 中國婦女(英文版) (2007)
- 邱賢 趙棚鴿, "女性角色的困境--解讀≪阮玲玉≫", 電影文學 (2007)
- "中國經典老電影", 上海頂乘文化傳播有限公司
- Chow, Rey, "Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema" (1995), Columbia University Press
- Harris, Kristine, "The New Women Incident Cinema, Scandal, and Spectacle in 1935 Shanghai in Transnational Chinese Cinemas: Identity, Nationhood, Gender" (1997), University of Hawaii Press
- Tam, Kwok-kan, "New Chinese Cinema" (1998), Oxford University Press
- Lee, Leo Ou-fan, "Shanghai Modern: The Flowering of a New Urban Culture in China, 1930-1945" (1999), Harvard University Press
- Zhang, Yingjin, "Screening China" (2002), Center for Chinese Studies, The University of Michigan