Descriptions of the Cultural Revolution in Early 1990s Chinese Film and Painting

Hayoon Jung(정하윤) 현대미술사학회 2015 현대미술사연구 Vol.0 No.37

이 논문은 마오 열기가 가득했던 1990년대 초 중국에서 문화대혁명이 어떻게 묘사되었는지를 세 편의 영화와 두 회화 시리즈-천카이거의 <패왕별희>, 톈좡좡의 <푸른색 연>, 장이모의 <인생>, 왕광이의 <대비판> 시리즈, 장샤오강의 <대가족 시리즈>를 통해 살펴본다. 이 영화와 미술작품들은‘ 마오열기’를 배경으로 나타났다. 마오의 시대에 대한 그리움이 가득했던 시기에 영화감독들과 미술가들은 자신들이 겪었던 문화혁명에 대해 반추하는 기회를 가진 것이라 할 수 있다. 다섯 작품 모두 마오쩌둥을 직접적으로 비난하지 않는다는 공통점을 보이는데, 이는 1981년 덩샤오핑 정부의 공식적인 문화대혁명과 마오쩌둥에 대한 공식적 평가와 일치하며, 1990년대 초반의 마오에 대한 대중적인 호감에 어느 정도 영향을 받았을 것이라 생각된다. 한편, 문화대혁명 기간 동안 겪었던 그들의 다른 경험 때문에, 세 명의 영화감독들과 두 미술가들은 문화대혁명에 대한 다른 태도를 보여준다. 간단히 나누자면, 가족이 문혁 기간 동안 정부로부터 심한 탄압을 받은 세 영화감독들은 그렇지 않았던 두 미술가들보다 더욱 생생하고 강하게 문화대혁명의 부정적인 측면을 드러냈다. 문화대혁명에 대한 다양한 태도는 중국이 개인적인 의견을 표출할 수 있는 사회가 되었음을 시사한다. 그러나 동시에 중국 공산당이 다섯 작품이 중국 본토에서 보여지는것을 허락하지 않았다는 점은 여전히 정부의 문화 규제가 건재했다는 것과 문화대혁명이 90년대 초반에도 민감한 문제였음을 나타낸다. This study examines how the Cultural Revolution was depicted in early 1990s Mainland China by analyzing three films and two painting series, which are Chen Kaige’s Farewell My Concubine , Tian Zhuangzhuang’s The Blue Kite , Zhang Yimou’s To Live , Wang Guangyi’s Great Criticism Series, and Zhang Xiaogang’s The Bloodline: Big Family series. These works were born against the backdrop of the national rumination on Mao, called MaoCraze. On the one hand, it is noticeable that all these works still maintain a bottom line: they do not attack Mao Zedong personally. This handsomely dovetails with Deng’s early official judgment on the Cultural Revolution and on Mao, as well as the national fondness for Mao of the early 1990s.On the other hand, each director and artist showed different approaches towards the Cultural Revolution. To divide them roughly, three directors described the negative sides of the Cultural Revolution more vividly and strongly than the two artists. Such diversity is an indicator that the PRC had opened a new era, where individual voices were becoming quietly audible. Yet, at the same time, the Party’s prohibition on showing the five works in Mainland China indicates that the government’s control over the arts was still firm and that the Cultural Revolution remained a sensitive issue.

논문(論文) : 영화 ≪조씨고아≫의 각색 양상 연구 -영아살해와 부친살해를 중심으로

신정수 ( Jeong Soo Shin ) 중국어문연구회 2014 中國語文論叢 Vol.0 No.61

The Orphan of Zhao, a Yuan drama about a feud between the Zhao and the Tu clans in ancient China, includes various kinds of death: from massacre and homicide to suicide and others. Among these deaths are two murders deemed “unnatural”: infanticide and patricide. The villain Tu Angu decimates the Zhao clan and kills an infant thought to be the last remaining member of the family; in fact, the baby is the child of the Zhao family’s doctor Zheng Ying, who has no other choice as his son is killed but to watch helplessly for the sake of saving the last heir of the Zhao clan, Gu’er. Fifteen years later, when he learns the truth, Gu`er immediately kills Tu Angu and redeems his family’s honor. The problem, however, is that the two have been as close as father and son. In his film Sacrifice (2010), the director Chen Kaige noticed this problem and adapted it in order to satisfy a contemporary audience. This paper examines Chen Kaige`s criticism of the original drama through the analysis of his cinematic adaptation.

A Brief Analysis of The Aesthetic Thinking and Cultural Reflection of Chen Kaige's Films - Take “The Legend of the Demon Cat” As An Example

Yin Jun,Huang Zinan 한중경제문화학회 2021 한중경제문화연구 Vol.16 No.-

Descriptions of the Cultural Revolution in Early 1990s Chinese Film and Painting

정하윤 현대미술사학회 2015 현대미술사연구 Vol.0 No.37

This study examines how the Cultural Revolution was depicted in early 1990s Mainland China by analyzing three films and two painting series, which are Chen Kaige’s Farewell My Concubine, Tian Zhuangzhuang’s The Blue Kite , Zhang Yimou’s To Live, Wang Guangyi’s Great Criticism Series, and Zhang Xiaogang’s The Bloodline: Big Family series. These works were born against the backdrop of the national rumination on Mao, called MaoCraze. On the one hand, it is noticeable that all these works still maintain a bottom line: they do not attack Mao Zedong personally. This handsomely dovetails with Deng’s early official judgment on the Cultural Revolution and on Mao, as well as the national fondness for Mao of the early 1990s.On the other hand, each director and artist showed different approaches towards the Cultural Revolution. To divide them roughly, three directors described the negative sides of the Cultural Revolution more vividly and strongly than the two artists. Such diversity is an indicator that the PRC had opened a new era, where individual voices were becoming quietly audible. Yet, at the same time, the Party’s prohibition on showing the five works in Mainland China indicates that the government’s control over the arts was still firm and that the Cultural Revolution remained a sensitive issue. This study examines how the Cultural Revolution was depicted in early 1990s Mainland China by analyzing three films and two painting series, which are Chen Kaige’s Farewell My Concubine, Tian Zhuangzhuang’s The Blue Kite, Zhang Yimou’s To Live, Wang Guangyi’s Great Criticism Series, and Zhang Xiaogang’s The Bloodline: Big Family series. These works were born against the backdrop of the national rumination on Mao, called MaoCraze. On the one hand, it is noticeable that all these works still maintain a bottom line: they do not attack Mao Zedong personally. This handsomely dovetails with Deng’s early official judgment on the Cultural Revolution and on Mao, as well as the national fondness for Mao of the early 1990s.On the other hand, each director and artist showed different approaches towards the Cultural Revolution. To divide them roughly, three directors described the negative sides of the Cultural Revolution more vividly and strongly than the two artists. Such diversity is an indicator that the PRC had opened a new era, where individual voices were becoming quietly audible. Yet, at the same time, the Party’s prohibition on showing the five works in Mainland China indicates that the government’s control over the arts was still firm and that the Cultural Revolution remained a sensitive issue.

저항의 즐거움- 중국 대중매체 시대의 패러디

안영은 중국학연구회 2015 중국학연구 Vol.- No.73

In modern China, culture practice through parodies has been realized as stages from ‘Tall tales'(or ‘Mo lei tau)' to ‘Kuso' and ‘Copycat'. These are reproducing characteristics such as popularization, amusement, and so on of original works. Parody which is talked here can be said to be applied or signified newly in Chinese cultural environment while not getting out of meanings and categories of existing parodies. In the next, Considering the case that Chinese Odyssey of Stephen Chow with the characteristic of Moleitau created big waves of Stephen Chow in the Chinese Continentin the early 2000s as a starting point that culture practice was realized through parody, from that adolescent netizens who were consumption subjects of Chinese Odyssey owing to the generalization of the Internet media in China, about The Promise of Chen Kaige which was regarded to represent elite culture through parody technique, criticism in a new way is tried. Simultaneously, the phenomenon of ‘Kuso' which restructured the culture to be consumed for themselves is analyzed. Furthermore, in public space called the Internet getting out of the existing hallowed culture of itself, centered on the phenomenon of ‘Copycat' which formed new culture discussion, the point of the argument is intended to be led.

A Brief Analysis of The Evolution of Values of Chinese and Korean Animated Film Characters

Ju li,Jing Chenyu 한중경제문화학회 2021 한중경제문화연구 Vol.17 No.-

영화 「我和我的祖國」에 투영된 中國夢

강별 한국중국현대문학학회 2021 中國現代文學 Vol.0 No.96

This study looks at the 70th anniversary of the founding of the People's Republic of China, My people, My country(2019). The film sets an ordinary Chinese as the main character, not an important or heroic figure in history. This is noteworthy in that it is a different way of organizing narratives from previous Main Melody Films. The omnibus-style composition, which combines seven short films into one, represents the various military figures that make up Chinese society. In addition, the film projects many aspirations and goals to realize the unfinished Chinese dream. This inspires and educates the people with feelings of “nationalism, self-centeredness and patriotism.” Paradoxically, however, it also contains the shadow of China's dream and the reality that China is facing. Through this, this paper emphasizes that the sacrifice and effort of the people, like the characters in the movie, is desperately needed to achieve the “Dream of the Fatherland” of the “great revival of the Chinese people.”