장양(張楊) 영화의 상업성과 주선율적 요소의 접점 고찰

Abstract

Zhang Yang is a representative commercial-film director among the 6th-generation directors, and is simultaneously a director who receives evaluation as saying of being the strongest in main-melody film color. His movie is characterized by maintaining the warm attention from beginning to end while addressing joys and sorrows of life in the petit bourgeois. The theme is being put in a traditional value system and a value on human love such as the recovery of family affection and a pursuit for love. On the one hand, there is even an indication as saying of avoiding a cause for a contradiction of modern Chinese society and for pitiable life that second-class citizens have. In this regard, his movie can be considered to put commercial hull around, but to involve main-melody film element that contains only a brilliant scene in the developed modern China with defending collectivism. Accordingly, this study is exploring main-melody film element, which is immanent in a commercial movie, along with the commercial potential that is shown in Zhang Yang's movie. It specifically examines into which theme his movie has been varied, and inquires into with which method his movie is containing the commercial potential and the main-melody film element. What explores its boundary through analyzing the immanent main-melody film element along with the commercial potential that appears in Zhang Yang's movie can be considered to inspect a dominant discourse of the society that is indicated in a movie. The works of examining a discourse are paradoxically judged to function as a basis of tracing the political rhetoric of the era. It is considering the multi-sided image in Zhang Yang's movie that has a main-melody film element even if putting the hull of a commercial movie around.