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니에웨이(??),샤오둥치(肖?祺),권도경(옮김) 중국영화포럼 2015 영화중국 Vol.2 No.2
Unkind of capital and culture is not the most difficult hurdle that when the second generation young peasant enter the hall of cinema. When they just follow wall of class that is consolidated in the real world, they would be frustrated constantly. They realize a identity changing as a ‘Shamate’ with a special image sign that came from foreign country-Hong Kong-Mainland China. Some embarrassing position so called ‘breakthrough/restriction’ appears as a distinction of space and makeup ceremony in films. Some narrative tendency alludes a delicate relationship of defection and exclusion between ‘Shamate’ subculture group and majority culture group. However, until now, the ‘Shamate’ group that gets stressed in the ‘tiny gap’ in the real does not enjoy buffer effect that must be exist in virtual space such as film or internet.
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니에웨이(?偉),정양(鄭煬),권도경(옮김) 중국영화포럼 2016 영화중국 Vol.3 No.2
Since the new century, the economic/cultural globalization makes the industry/cultural cooperation-competition trends to around the core of “pan-asia movie”, which focusing on the subjectivity of the regional culture based on Asian countries/regions imagination and industrial practice. In this context, “China and South Korea film co-production agreement” highlights the more important model significance. However, due to the lack of mature mode of cooperation and successful cases, China and South Korea film still remain in the running-in stage of cooperation. The way to produce the common language in the narration of co-production in this two countries’ film market comes to be the key problem. This paper tries to stand on the perspective of "Culture Flows" and "Cinepolitics Imagination", to comb the film industrial ecological situation in the process of dialogue, competition and cooperation relationship.
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