지아장커 영화에서 사실주의 미학

Abstract

Zia Zhanke, the 6th generation of Chinese cinema, has produced independent movies, in contrast to the 5th one who has changed to seek commercial filmmaking after the spread of capitalism in China. He finds his root in realim and supports this aesthetic by using documentary filmmaking styles. Moreover he tries to mix all the ingredients in real life by experimenting with sounds and images in order to represent the real more sincerely and truthfully. However he does not hesitate to mix fiction and documentary in his films since it is believed that the reality can be more easily revealed in this hybridity. His works are regarded documents of contemporary chinese society and peoples and also they are reconstructed, creative fictions. His unique style and sensibility capture overlapping moments of the past and the present of chinese history where melancholic nostalgia could be found. Main characters in his films are usually others or minors in society who tend to live passive lives as if rapid and significant developments of society escape them. They are depicted as objects of the sublime. However, in this reason this passive stereotyped labors and minorities in terms of their political positions may well show the limitations of realism aesthetic in Zia Zhanke's films. In this articla, I will try to anylyze several features of Chinese realim aesthic through Zia Zhanke's films, in which sounds and images are juxtaposed with mixed styles of documentary and fiction. However, in recent his works, his perpsective of seeing developments of chinese society has been changed in relation of his status of director in China and World cinema.