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미래 동화 종언(이후) 서사로서의 영화 『엘리시움』비판
문강형준 영미문학연구회 2014 안과 밖 Vol.0 No.36
Few periods have witnessed so strong a cultural fixation on apocalyptic calamity as the present. From fictions and comic books to Hollywood films, television shows, and video games, the end of the world is virtually ubiquitous in the form of apocalyptic and post-apocalyptic narratives. Gravitating toward the exploration of the major political, environmental, and economic dilemmas of the present, apocalyptic and post-apocalyptic narratives crystallize the fears and anxieties of the current late capitalist society. As a post-apocalyptic science fiction film, Neill Blomkamp`s Elysium (2013) consciously addresses the politically significant global issues such as overpopulation, slumism, economic inequality, health care, and immigrant policy. Although Elysium grandiloquently connects such diverse issues to its plot, the film in general engages with them in a disappointingly superficial way. Despite its pretense of social allegory, many things are inexplicable: how raw materials are produced to maintain the luxurious lifestyle of a giant artificial habitat, how capitalism still works with the collapsed market, why the god-like residents in Elysium do not secure their longevity by colonializing the Earth. Neglect of such rational questions in a post-apocalyptic narrative with an apparent intention of social criticism discloses the fact that the film uses the post-apocalyptic setting and its central themes as a mere gesture. This rings true when the film attributes the overturning of the hitherto invincible system of Elysium to a messianic sacrifice of a sole action hero. Elysium thus representatively shows how a Hollywood post-apocalyptic narrative conveniently transforms the global exigencies into a romanticized, futuristic fairy tale. Such tendency of superficiality can be frequently found in other apocalyptic and post-apocalyptic narratives, which evokes the need of a realist attitude.