『山河故人』의 새로운 인물형상과 자장커의 ‘변신’
The Image of Character in Mountains May Depart and Jia Zhangke’s Transformation
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Director Jia have been persits his own film style capturing and archiving a chinese ordinary workman’s life by his camera. However, instead of workers and sub-ties, new types of characters are emerging in his recent film. Zhang Jinsheng in the Mountain May Depart is a typical case of this change. This paper attempts to understand the changes of new film Mountain May Depart from overserving his recent activities like start-up investment, local food restaurant operation, becoming dean of film school. As to his change, some critics questioned whether he had changed or whether China had changed. In some sense, these activities led him to interpret and express reality of contempory china in different ways. Some criticize this change as a treachery, but whether this change will be assessed as “treachery” or “transformation”, the identification of interlocking and interacting within a certain internal relationship with new attempts in film and chinese nowadays transforming should be prioritized. In front of China's changes, Jia is also adapting through transformation (self-renewal) and is continuing his new cinematic attempts to convey his thoughts about the change to more people.
Abstract
Director Jia have been persits his own film style capturing and archiving a chinese ordinary workman’s life by his camera. However, instead of workers and sub-ties, new types of characters are emerging in his recent film. Zhang Jinsheng in the Mountain May Depart is a typical case of this change. This paper attempts to understand the changes of new film Mountain May Depart from overserving his recent activities like start-up investment, local food restaurant operation, becoming dean of film school. As to his change, some critics questioned whether he had changed or whether China had changed. In some sense, these activities led him to interpret and express reality of contempory china in different ways. Some criticize this change as a treachery, but whether this change will be assessed as “treachery” or “transformation”, the identification of interlocking and interacting within a certain internal relationship with new attempts in film and chinese nowadays transforming should be prioritized. In front of China's changes, Jia is also adapting through transformation (self-renewal) and is continuing his new cinematic attempts to convey his thoughts about the change to more people.
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