중국 현대 코미디 영화에서 영웅 이미지의 희화화 연구: 카이신마화(開心麻花) 영화 <문맨(獨行月球)>을 중심으로

Abstract

The This paper focuses on the creation and transformation of heroic images in contemporary Chinese cinema, specifically the subversion of the “typical” heroic paradigm, which has been heavily influenced by socialist realism. Past research on “typical” heroic images has tended to pursue a singular form of “Gaodaquan” portrayal. This study aims to explore the heroic image of Du Guyue in“Walking to the Moon” as an example of a departure from the traditional “typical” hero model, as well as an attempt to break free from the influence of socialist realism. Drawing on Bakhtin’s theory of “carnivalesque”, this paper explains the transformation of the heroic image of Du Guyue from its appearance to its narrative style through “carnivalesque” means. the protagonist of the Happy Mahua film “Walking to the Moon” (2022), which appears to completely depart from the traditional heroic archetype. By interpreting the analyzed image using Bakhtin’s grotesque realism and carnivalesque discussions, the study aims to examine how the comedic hero image in “Walking to the Moon” subverts the socialist revolutionary hero image. The personal desires depicted in the new heroic image of “Walking to the Moon”are perceived as attempts to overturn preconceived notions of the sacred, solemn, and publicly regulated ideal human form, reflecting the cultural consciousness of the masses who seek to restore everyday and secular life. This is seen as a response to the demands of the public for true resonance and communication, and the change in the heroic image can be interpreted as being connected to the subculture of the younger generation, which has grown under the influence of a subcultural context. The Happy Mahua film “Walking to the Moon”, based on a Korean webtoon original, demonstrates the potential for new cultural creation that reflects a rich diversity of human nature, aiming for a reflection on reality in contemporary Chinese cinema and a pursuit of the global film market. However, the carnival hero expected by contemporary Chinese audiences in this film ultimately faces the fate of sacrifice between the pursuit of individual emotions and desires and the realization of socialist ideological values. This reflects the ongoing tension between society and the individual, despite the film’s attempts to reconcile these contradictions by sacrificing individuals, ultimately proving the continuous rift between society and the individual reflected in the film.