문혁시기 중국의 북한영화 수용과 신세기 전후 중국영화 속의 잔영

장동천 한국중국현대문학학회 2021 中國現代文學 Vol.- No.97

This paper explores the acceptance of North Korean films in China, especially the pessimistic aspect of the general public during the Cultural Revolution. At the time, the Chinese audience was so enthusiastic that the North Korean films also left afterimages of the Chinese Films about the Cultural Revolution which appeared around the New Century. What makes North Korean films so enthusiastically welcomed by Chinese audiences? Also, what is the significance of Chinese films dealing with North Korea's image of the Cultural Revolution in the post-modern era? Starting with these questions, this paper first examines the acceptance of North Korean films during the Cultural Revolution, and then traces the context and meaning of its appearance in a series of Cultural Revolution films released in China around the New Century. The films about the Cultural Revolution before and after the New Century, which will be covered by this paper, are works that reproduce the life history of the Cultural Revolution period in the way of Nostalgia and Kitsch under the influence of postmodernism. The exploratory gaze on the daily lives of these films, which are different from the existing meta-narrative, has given a new role to the image of North Korean films.

리샹란 영화가 투사한 제국의 환영* − ‘대륙 3부작’에 대한 반향을 중심으로

장동천 한국중국현대문학학회 2008 中國現代文學 Vol.0 No.46

The Manchukuo Film Association(hereafter, MFA) was a government-controlled film studio affiliated to the South Manchurian Railway. It was founded in 1937 as a part of the Japanese colonial strategy on culture. MFA conjured a fantasy about the occupied territory of Manchuria and actively disseminated this fantasy to the colonized people. The most representative star of MFA was the actress and singer, Li Xianglan. Through a series of films, phonograph records and performances, she exerted an enormous influence on the extensive network that linked together Japan, Japan’s East Asian colonies and China. Her image, shaped by her roles in melodramas as an exotic girl, impressed the colonial audience and made them possess the fantasy on the colonized space. As an idol for the ‘Japan-Manchuria Goodwill,’ she became a symbolic icon of the Japanese cultural encroachment upon other East Asian countries. It was Japanese militarism that plotted to establish and control an East Asian transnational cultural network that sought to transcend the cultural boundary of each locality. Li Xianglan’s image as a legendary figure emerged alongside Japanese encroachment upon China and was shaped through the business strategies of Japanese film studios and entertainment companies during the wartime. In her films, colonial Manchuria under the Japanese occupation was falsely projected as if it were a fantasy. In particular, Chosŏn(Korea, before 1945) audiences watching her films saw Manchuria and confused it with China or the ‘continent.’ By representing the relationship between Japan and colonial Manchuria as a relationship between a wise and strong man and a docile woman, her films induced the colonial audiences to re-recognize Manchuria as a region that corresponded with Japan, thus facilitating the audiences’ cooperation with a colonial policy. From among the many melodramas produced by MFA, my paper, by focusing on three films starring Li Xianglan with Chinese backdrop, traces the path taken by the Chinese imagination in Japan and its colonies. These are the so-called the Continental Trilogy: Song of the White Orchid (1939), China Nights (1940) and Vow in the Desert (1940). First, I look at the ‘Li Xianglan myth’ that is still being reproduced in Japan. Next, I deal with the modifying process of the imagination of China through Manchuria in the other colonial audiences, which took place in Japan during the time when the ‘continental films’ were popular. Finally, I argue how the melodramatic style and exotic sentiment of her films could be welcomed by the colonial audiences, although they were a means of colonial propaganda.

兩個油漆匠的韓國之旅所留下的痕跡 ― 黃春明短篇小說)< 兩個油漆匠> 的韓語飜譯及其影響

장동천 고려대학교 중국학연구소 2016 中國學論叢 Vol.54 No.-

Until the 1980s, when Taiwan and South Korea still maintained diplomatic ties, Taiwan had been less known to Koreans for its unique indigenous or contemporaneous image, and more known for the traditional and stereotypical image of `Free China`, which could be substituted for the then very nebulous image of `China`. As the anomaly of the Cold War ended, the quiet introduction of the Taiwanese writer Huang Ch`un-ming to Korea that led to our new understanding of Taiwan and its literary world. In 1983, with Korea still under the rule of a military dictatorship, translations of Huang`s writings were prohibited from sale immediately after their publication. Paradoxically, this gave his work a new literary life. One short story included among his translated works, The Two Signpainters, was soon adapted as Chilsoo and Mansoo, which became one of the best satirical plays that had heartened Koreans during this oppressive political era. In addition to being the most discussed play of the 1980s, the play was later made into the first Korean new wave film in 1988. However, in the process of the film adaptation, Huang`s name was no longer mentioned, and the Taiwanese aspects, so vividly depicted in the original novel, were completely replaced by Korean content. This paper examines the background and history of the adaptation of Huang`s story, and the subsequent trends in its acceptance in Korea. We, then, analyze the reasons for the success of the adapted play and film, based on elements inherent to the original work itself. For example, we discuss its theatrical composition, satirical elements, and contemporary source materials, such as advertising and the press. Finally, we investigate the significance and sentiments that these elements had granted to Korean audiences, in the acceptance of this work.

利用多媒體材料的文稿演示課的實踐與分析― 課堂敎養講座 中國文化的理解爲材料

장동천 한국중국소설학회 2006 中國小說論叢 Vol.23 No.-

自后花?的“出走”?“回?” ―路翎≪?主底?女?≫裏所?的四十年代中?家庭

장동천 한국중국현대문학학회 2003 中國現代文學 Vol.0 No.25

"Leave" and "Return to" the Rear Garden― The Chinese Family of 1940's in Luiing's "Rich man's Sons and Daughters"

老舍와 박태원 세태소설의 도시 인식 비교 -≪四世同堂≫과 ≪천변풍경≫을 중심으로

장동천 한국중어중문학회 2005 中語中文學 Vol.36 No.-

논문(論文) : 1930년대 상하이 극장의 민족지형

장동천 고려대학교 중국학연구소 2013 中國學論叢 Vol.39 No.-

早期上海電影業被外國人掌權的事實給後來的上海電影業帶來了巨大的影響.尤其1920年代好萊塢重新調整電影産業幷把他推廣到東亞電影業以後, 這就直接影響到了在中國進口電影最多的上海影院.從1930年代開始, 美國的電影超越了歐洲幷且占據了上海影院的百分之八十以上.從1920年代中葉起, 改建爲豪華影院的屛幕上美國電影占據了絶大多數, 而且根據進口電影的供應量城市裏的電影院也隨之被劃分爲幾個等級.這時在上海去電影院的行爲象征著最新流行的時尙擧動, 因此隨著影院的等級觀衆也被賦予了文化身분上的等級.當時的上海不僅是最大的電影消費城市, 而且還是美國電影占有率最高的城市.因此從進口影片的多樣性的觀點來看, 1930年代上海的觀衆與以往的觀衆相比, 能選擇的影片的範圍反而被縮小了.雖然電影業的基礎在租界最爲發達, 但是與其他城市相比因爲未能得到政府的保護, 所以好萊塢産業的攻勢則更可以視爲對上海制片人的威脅.盡管如此, 在1930年代中國電影通過從所未有的發展, 影院的民族形勢也開始發生了變化.中國電影之所以能有如此顯著的進步不僅是因爲有左翼人士的參與, 而且還是因爲包括話劇在內多種藝術體裁的作家與批評家對電影有了新的認識.因爲有了他們, 電影業才獲得了如此大的發展.但是從劇場的內在與外在的原因來看, 不容忽視的是這發展不僅是通過從事影業的中國企業的努力奮두而獲得的, 而且這發展還是由於受到了好萊塢的影響-卽使這是效果論的觀點-中國的電影市場才能得到重新調整幷且進行現代化的.從影院的民族形勢的角度來分析, 若把到1920年代中葉的時期以宏觀的觀點稱作在西方的多數流浪性電影從事者獨呑了影院的情況下, 多數的小國産企業在電影業艱難地生根發芽的時期的話, 那麻1930年代則可以稱爲面對巨大的、組織化的美國影片的物流網, 國産企業通過多方面的嘗試使民族文化得到成長的時期.本文通過民族的對立局面, 卽從宏觀的角度來看, 以外國與中國電影從事者之間圍繞著影院而發生的衝突的角度, 分析了1930年代的上海電影業的情況-美國電影業獨呑影院的同時在電影業出現了民族電影發展的現象.在本文中, 兩者的對立與矛盾關系則通過對電影院認識的轉換、供應商的重新調整與電影院的等級化、以及以政治變化爲基礎的國産企業的進步等層次加以敍述.

‘도무시대(跳舞時代)’의 호명과 향수 ― 타이완의 1930년대 가요 「망춘풍 望春風」의 작용과 의미

장동천 한국중국현대문학학회 2018 中國現代文學 Vol.0 No.87

In East Asia, “tradition” is a concept that has been defined and universalized with the appearance of the alien concept “Western culture”, such as the "nationality". And the various establishment processes of this tradition are closely related to modern media. The modern media not only spread the traditional culture in a totally different manner from the epoch era, but also solidified the meaning of the traditional culture within the community. But, subject of “what and how the media establishes the tradition” is reduced to a different problem outside the text, and generally has an inseparable relationship with the antagonism process of modern nationalism. However, in some places, nationalism is not all agreed by all members of the community, and the direction and dimensions can be displayed either dispersedly or mixedly. In such case, the emphasis on tradition is strengthened in the opposite sentiment to nationalism. This paper studies the popular song “Bāng Chhun-hong”(望春風, means ‘Spring Breeze’) in order to consider the media culture that existed in the urban culture of Taiwan during the colonial period. While the process of the birth, acceptance and nostalgia of this song were based on the history of Taiwanese culture since the colonization by the Japanese empire, but the undulating fate of this songs is based on the contemporary political and social background. Particularly after the release of martial law in Taiwan, the series of cultural phenomena such as unearthing, re-discovery, and new inheritance of “Bāng Chhun-hong” contained concentrated desires towards localism based from anti-nationalism and ethnicity of the mainlanders of Taiwan. Nowadays, it is easily discovered that there is a tendency to blend existing ethnicity wave with local culture in Taiwan. Through the local culture traditions. the Taiwanese are trying to gently show the ethnicity, to integrate divided ethnicities into one, and to change the traits of nationalism that is being infiltrated from external environment. To explore these aspects, this paper first describes the characteristics of the modern media market in Taiwan, and reviews movie culture related to the birth of modern popular songs. Then, this paper analyzes the background and aspects of the sensibility of the area that are derived from it, and examine the meaning of the addressing and reconstruction of traditions.

동아시아의 식민 네트워크와 이동하는 초현실주의 - 타이완의 문학 다큐멘터리 영화 ≪일요일식 산보자≫를 중심으로

장동천 고려대학교 중국학연구소 2022 中國學論叢 Vol.- No.75

The documentary film Le Moulin depicts the historical tracks of poets in Le Moulin Poetry Society(風車詩社, Fengche Shishe) during the Taiwan's Japanese colonial era. By its content, it re-recognized the surrealist movement of Taiwan that began in the 1930s to audiences. At the same time, it confirmed the synchronic value of these poets through its relationship with the surrealism trend in Japan and Europe. Through Taiwan's arduous history that restricts and dominates the activities of poets in Le Moulin Poetry Society, this film also allowed the audience to reflect again on the times of the place in which these poets lived. In terms of formality, the film expands and displays the synesthesia background in the creations of poets by collaging various paintings, photos, films, and music and sound materials related to modernism. Through objet-oriented bridge dramas, the film also recreates the daily lives of the protagonists existentially. This paper examined the meaning contained in this film in several aspects. First, it reviewed the storytelling aspect of this film by inquiring about the literary-historical background in how Le Moulin Poetry Society gets a relationship with surrealism. Second, it investigated the characteristics of archive exhibitions on artworks variously used in this film and the characteristics of expressions in bridge dramas inserted as a link to the archives by the objet's aesthetic attributes. Finally, to examine the historical perspective, as a way of contextual research, it analyzed the implications of the documentary's intended implementation of synchronism in Taiwanese modernism through several extended perspectives.

철로와 부속지가 형성한 중국 동북지역의 초기 영화문화

장동천 고려대학교 중국학연구소 2014 中國學論叢 Vol.46 No.-

本論文把隨著鐵路而發展的中國東北地區的電影史與近代都市文化的形成過程聯系起來展開了討論. 隨之,歷時性地對新城市開發與接受電影的關系和早期地區電影市場的面貌等進行了考察,探究了有關東北地區早期電影文化裏內涵的民族主義性質. 中國東北地區接受電影的初期過程與列强所設置的中東鐵路、和隨著鐵路而開發的鐵路附屬地有著密切的聯系. 比起原本的傳統城市,在新的都市電影更容易地被吸收爲娛樂方式,而且他隨著鐵路連接而形成的道路廣泛傳播到了隣近城市. 原來初次進入地區的電影的觀衆大多是俄國人,可是從1920年起中國觀衆人數開始有所增加,因此劇場的民族意識性質也發生了改變. 特別是那些新生的國産電影不僅慰藉了中國觀衆的思想之情,而且成了刺激民族情操的文化機制,使他們在劇場通過想象實現在移民社會未能充足的民族性. 劇場成了喚醒中國移民者實現潛在民族意識的夢想之場所. 可是這時期東北地區奇異的電影熱氣未能連接到創作上. 這地區在歷史的浮沈中所經歷的頻繁的戰爭與强壓的管制阻愛了讓地區內繁華的商業都市吸引文化藝術才子. 所以,東北地區的電影界直到滿洲事變以前都始終未能逃脫依存於外國電影與上海電影的從屬關系. 還未조到那能求表達潛在的民族意識的文化主體的初期東北被他者化的電影文化,最終只能逗留在生産消費的空間上. 東北地區早期電影史中鐵路的存在性在地區近代文化的起點上就成了具有正與反兩面性特征的重要指標.