‘동화적 환상’으로 본 周星馳의 『美人魚』

Abstract

Attempting to contact the Real, the Fantasy creates a stir in the value system that we take for granted. Andersen sought for solution to overcome the limitations of European society in the 19th century by opening the fairy-tale fantasy of yearning for new species or living things. Hoping for individual salvation and eternal return, he created the fairy-tales appealing for universal truth. Andersen’s mermaid has represented all the other mermaids in Western society because it is attractive and appealing enough to overwhelm the pre-existed images of mermaid in Western myths and folk tales. Afterward, ‘The little mermaid’ has been transferred and transformed in more polished and realistic ways by the aid of imaging technology. ‘The little mermaid’ was restructured as Zhou Xing Chi’s 『The Mermaid』 in post-Socialism. 『The Mermaid』 shows the image of China’s traditional mermaid in Chinese myth and literature, reveals the crack and absurdity of Post-Socialism by means of Zhou Xing Chi‘s cinematic skills, and deconstruct the existing authority and order. At the same time, the universal messages such as ‘pure love and environmental protection’ exempted the movie from government censorship and the age limit. Zhou Xing Chi’s fairy-tale-like movies have ambivalence in cultural topography of Post-socialism: resisting ideological fantasies and accepting mainstream consciousness. 21st century rules the area of unconsciousness and requires fairy-tale fantasy more. The Fourth Industrial Revolution all over the world and Cultural Hybridity caused by globalization expand the perception of ecology and deglobalization. judging from this, open viewpoint with fairy-tale fantasy will be more essential. New interpretations and transformations of ‘The little mermaid’ are looked forward to.