무협영화에 나타난 중국 전통사상과 영화미학의 관계 = (The) relation between Chinese Traditional Philosophy and Film Aesthetics as portrayed in Wu-xia Film

다국어 초록 (Multilingual Abstract)

Only China has wu-xia film as a genre. Wu-xia film has its own uniqueness in its form and substance, not just Chinese background of it. Meanwhile, in spite of its uniqueness, it has not been recognized as noticeable subject, for its commercial aspects are mainly emphasized in the nation. In Taiwan and Hong Kong, it has been studied on the grounds of a simple aspect such as film history, auteur theory and genre criticism. It is hard to find multilateral analysis as the other film has been studied. The purpose of the thesis is to find what philosophical meaning it has by analyzing wu-xia film on the grounds of Chinese traditional philosophy and culture.
China has achieved a variety of traditional philosophy. Sometimes, by competing, at other times, by accepting each other, Chinese traditional philosophy has been changed and grown. In fact, they have affected one another and grown together as a well-known Chinese philosophy, It is common to misunderstand that Confucianism and Taoism are in a competing philosophical grounds. Buddhism has affected religious Taoism has helped Buddhism to be acknowledged in China. Philosophy of righteous spirit of chivalry is also important when wu-xia film come to be the subject of study. The righteous spirit of chivalry has made a contribution to Chinese folk culture. Wu-xia film shows these aspects of Chinese philosophical flow.
Confucianism, Taoism, Buddhism, religious Taoism are Chinese traditional philosophy illustrated in wu-xia film. The theme of wu-xia film has been royalty, piety, philanthropy, morality which are confucianist value. Wu-xia film has also shown Taoist value seeking after idle life out of mundane life. Buddhist has made much of that emancipation can be achieved only when we give up the tenacity for life. Religious Taoism has also helped wu-xia film so that it has grown abundantly. The righteous spirit of chivalry and true performance of martial art have given the verisimilitude into wu-xia film.
＜A touch of Zen＞ shows the confrontation and transformation between Confucianism and Taoism. It also shows the way the one accepts the other and receives its idea. Confucianism and Taoism can be regarded respectively as Yang and Yin. Confucianism may be considered as Yang for it has insisted active participation in the world. On the other hand, Taoism may be regarded as Yin for it has made much of living on idle life and accepting the nature of the thing. The heroine of ＜A touch of Zen＞ has both of the idea at the same time. In its background, while Confucianist shrine is in a contrast with Taoist Mother Nature, the heavens used to take an important part in the storytelling.
Woman character, usually recognized as Yin, is described as an idealistic human of Lao Zi because she has masculine aspect, martial aspect.
Duel scene at the bamboo forest shows 'an activity of in activity' which is the traditional philosophy. Tranquil scene of the bamboo forest in which no character appears are inserted repeatedly during duel scene.
＜A touch of Zen＞ also reaches Buddhistic ending.
In conclusion, This film is a multilateral text mixed with Confucianism, Buddhism and Taoism.
＜The sword＞ shows that human desire. Those names of character allude the destined life as a tragedy.
The origin of the attitude of the character goes back to Confucianism and Taoism. These are described consistently not only in the theme song but also in the costume color of the main character. The idea of traditional philosophy that 'existence and non-existence produce each other' may be found in the scene that old man feeding pigeons are murdered.
In ＜Swordsman＞ and ＜Swordsman 2＞, Taoistic desire living free from worldly cares conflicts with Confucianist's desire that the characters struggle to get 'Kui hua Bao dian' and the hegemony. While the one is being mingled with the other, the films show that both desire are not completely different but have a relation.
Ling hu chong standing for Han is completing with Dong fang bu bai, Mao in ＜Swordsman 2＞. Ling hu chong brings feminine Dong fang bu bai to his knees. As a results, inferiority of feminine Dong fang bu bai is emphasized, which shows confucianist's ideology Confucianist argues that Yang is valuable while Yin is Valueless.
The films are also under the philosophy of Lao Zi which is skeptical of the notion and the words. So, we may understand that various traditional philosophy coexist in the films.
Wu-xia film is the compound of truth and fiction for chivalry story is real and imaginary at the same time. Chinese traditional philosophies in a sense, has one another. It sometimes help one another and liked together elastically.

목차 (Table of Contents)

• 목차
• Ⅰ. 서론 = 1
• 1. 연구의 목적 = 1
• 2. 연구의 대상 = 2
• 3. 기존 연구 검토 및 연구방법론 = 4
• Ⅱ . 중국 전통사상과 문화ㆍ예술-相補(상보)와 대대(待對) = 9
• 1. 유가와 도가 = 13
• 2. 불교와 도교 = 21
• 3. 협의정신 = 28
• Ⅲ. 무협영화에 나타난 허실상생(虛實相生)의 미학 = 36
• 1. 〈협녀 (俠女)〉 = 36
• 가. 전체 - 음(도가)양(유가)의 대립과 상호전화, 그리고 불교 = 37
• 나. 공간 - 묘당(유가)과 산림(도가)을 아우르는 하늘 = 39
• 다. 인물 - 유불도의 결합 = 44
• 라. 죽림 혈투 - 정중동(靜中動) = 52
• 2. 〈명검(名劍)〉 = 58
• 가. '명(名)'과 '검(劍)' - 욕망무변(慾望無邊) = 58
• 나. 이름과 노래, 색의 상징성 - 인생무상(人生無常) = 61
• 다. 없음과 있음, 약함과 강함 - 허실상생(虛實相生) = 65
• 3. 〈소오강호(笑傲江湖)〉와 〈동방불패(東方不敗)〉 = 72
• 가. 소오강호 대 규화보전 - 물극필반(物極必反) = 72
• 나. 한족 대 묘족 - 중화사상(中華思想) = 77
• 다 동방불패의 성(性) - 양존음비(陽尊陰卑) = 80
• 라. '이름(名)'과 '말(語)'에 대한 회의 - 언불진의(言不盡意) = 83
• Ⅳ. 결론 = 85
• [참고문헌] = 88
• 부록1 - 분석 영화 줄거리 = 92
• 부록2 - 중국사 연대표 = 98
• ABSTRACT = 99