중국영화포럼 학술지 발간 규정 외

편집부(편집자) 중국영화포럼 2014 영화중국 Vol.1 No.1

1990년대 이후 한국과 중국 멜로드라마 영화 비교 연구

마오샹난(毛向南) 중국영화포럼 2015 영화중국 Vol.2 No.2

There is no doubt that the era or society has a big effect on characteristic of melodrama. Many Korean and Chinese melodrama have different elements as well as similar points. This paper studies on transfiguration situation of Korean and Chinese melodrama in relation to social change after 1990s. Most of all the social reason is a biggest point that melodrama has changed. If a melodrama could catch the social change well, it would have an important achievement.

『중국영화발전사』를 넘어서

임대근(Great Root Woods) 중국영화포럼 2014 영화중국 Vol.1 No.1

In the field of Chinese film history studies, the History ofChinese Film Development by Chneg Ji Hua is a great significance. Although there is an inclination to support government politics, but we cannot have any new history that overcame this work. This paper argues that we need to solve some important agendas to describe Chinese cinema history with a new perspective. First, it is most important if it is possible or not. Because the cinema history is an aggregation of arts, aethtetics, industry, policy, thecnology, culture and ideology, it has a problem of combine them qualitatively. There was some efforts to solve it, but they were not appeared a form of quantitative combinationa but qualitative. Second, it is a problem of period division of the history. We should consider the situation that is accepted two discourses, chronicle and generation universally. Because the generation discourse is a director centric description, we can support the chronicle discourse, but there is still some issues. For example, we do not have the film of Dingjunshan 定軍山 in 1905, and we also have a new problem naturally how to confirm the orginal point of Chinese history. There are so many period division and their meaning we should explain too. Third, it is a problem of regional category to describe Chinese cinema history. In other words, how we can name and combine or devide the mainland, Hong Kong and Taiwan cinema. Althogh there is some causal relationship between Hong Kong and Shanghai film history, but we can not deny the independent identity of Hong Kong cinema. Taiwanese cinema history also has been made a independent category. Therefore, we must not regard them as a bottom categories of mainland cinema. I hope that we can have a new Chinese cinema history in Korean solving those agendas devicefully.

从“穴居者”到“海扁王”

?偉(NIE Wei),肖東祺(XIAO Dongqi) 중국영화포럼 2015 영화중국 Vol.2 No.1

With the “Otakus(inoddrsmen)” become the youth subculture group which could not be ignored, the otaku temperament has also penetrated the Chinese Youth films with the narrative subject base on male. Otaku(indoorsman) role images on the screen are still on the edge of the mainstream study nowadays. As the otherness in male orthodoxy, on one hand, be starred as the inflexible roles with funny and exaggerating performances, with the wish that the return of the traditional masculinity, and on the other hand, under the conspiracy and game between the audiences and the film markets, Otaku(indoorsman) narrative films offer the audiences the experience of “Cave men”, and then present the image of “Kick Ass” on the screen, which enriches the subject practice of Chinese Youth Films.

时间蕴含的现代性

周安?(An Hua Zhou) 중국영화포럼 2016 영화중국 Vol.3 No.1

The control of timing in new type of movies originating from artistic reconstruction in contemporary movies of China deserves to be payed attention to. With entering into deeply international context, this new type of movies, such as So Young and No Man‘s Land, happen to coincide to take the style of art film making effort to express humanistic spirit and breaking through linear pattern of narration rather than just paying audiences with just entertainment elements. They lead audiences to think deeply with time-image of modern movie. On the one hand, the new type of movies are more often to explore emotion, dilemma and humanity rather than just making audiences enjoy the sight of psychological entertainment through spatial movement and visual tension; on the other hand, they break up the moderation and balance of time-speed of movie and present singular and stylized time transforming temporal dimension into a temporal logic intimately relating with our age and contemporary aesthetic culture. Opening temporal rhythm flatly transforms the speed of movie from vector to viable. This provides a wholly new area for the reforming China modern movie and deepening its theme structure, emotion expression and visual entertainment. Therefore, it becomes an important dimension for modernity of movies.

Understanding of Globalization and Transnational Chinese Cinema

WU Juan 중국영화포럼 2014 영화중국 Vol.1 No.1

This year, a landmark film co-production treaty between the UK and China was signed, by looking back the Chinese cinema in UK, analysis the reasons for film co-production, this essay explores how globalization influenced Chinese cinema and what is the availability of Chinese cinema.

중국어 영화에서의 ‘사마터 杀马特’ 형상

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.

〈新客〉 : ‘화어계’로 싱가포르와 말레이시아의 첫 영화를 논하다

許維賢(HEE Wai Siam),문희정(번역자) 중국영화포럼 2015 영화중국 Vol.2 No.1

Based on historical evidence from a large number of newspapers in 1920s, this article argues the assertion of the international academic circle that the film Xin Ke was never released. Thus, the historical significance and status of Xin Ke as the first Singaporean and Malaysian film is established. Additionally, we describe the origins of the “Independent Film Company of Nanyang Liu Bei-jin” and the public response to the company. The article also examines the moving and tragic life of Liu Bei-jin, the film company’s head and former Namchow mechanic, who left Singapore and Malaya to fight in the Chinese War of Resistance against Japan. Moreover, the article describes the Xin Ke production team and the film’s reception. The problems that the film confronted at the time of its production are examined, including the censorship of the British colonial government in the 1920s. The stylistic oscillation of Xin Ke’s screenplay between the Nanyang style of literature and art and Chinese literature and art are discussed. Furthermore, the manner in which the film addressed the disputes between the two major Chinese communities in Nanyang, that is, the Xin Ke (new immigrants) and the Peranakan (the Straits Chinese), is examined. This article locates these issues in the general context of the contemporary Singapore-Malaysian Chinese historical discourse to encourage reflection and questions. The unfortunate death of Liu Bei-jin and the existence of Xin Ke have been obscured in the history of the so-called Chinese diaspora, the history of China and in the historical discourse regarding the imperialism and the universal chauvinism that result from English-language hegemony. This obfuscation suggests that the historical discourses that rely on above-mentioned theories must be countered by a new theory of historical discourse. The Sinophone theory, in which Chinese-language is studied as a minority language, can serve as a starting point for our reflection on this topic. Finally, this article discusses how Xin Ke displays the characteristics of multiple sounds and multiple orthographies that typify the creolization of Chinese. Liu Bei-jin, who was well versed in six languages, and his Xin Ke provides critical historical evidence regarding the origins of the Creole frequently heard in contemporary Singaporean and Malaysian films and a valuable perspective on the disputes regarding indigenousness, colonialism and Chineseness.

《赛德克․巴莱》民族意识的追寻

高瑜(GAO Yu) 중국영화포럼 2014 영화중국 Vol.1 No.1

Seediq Baleis is a Taiwanese historical drama-epic film directed by Wei Te-Sheng and produced by John Woo, what is based on ‘Wushe Incident’ in central Taiwan in 1930. The origin of WuShe Event is the Japanese colonial forced Seediq people into forest to cunt down trees. While Seediq people depend mainly on hunting and farming for a living, depending on the forest for the holy land. The Japanese timeless oppression, finally make Seediq people become unbearable, decided revolt in October 27, 1930 uprising. WuShe region hold joint games in October 27, 1930. Mona Rudo head his clansmen assault WuShe public school suddenly, killing the 134 Japanese people. After that, the Japanese aggrandized military strength and launched a battle with Seediq people lasted more than forty days. In the end, the Seediq people were suppressed. This paper selects the representative scenes of the protagonist ‘Mona Rudo’, focus on the five events, through the analysis of the scenes to explore the way of representation of the ‘national consciousness’ of the film.

중국 애니메이션의 트랜스 아이덴티티 과정

정원대(Won Dae Jung) 중국영화포럼 2016 영화중국 Vol.3 No.1

Current Chinese animation is undervalued in below two reasons. First, “the animation only for Chinese people like.” In other words, it fits Chinese values but hard to understand for people from other countries. Capital investments and improving technology of animation are growing rapidly. But composition of an epic is like “classical literature”. An entertainment of animation gives pleasure beyond reality but most of Chinese animation does not. For example, the best feature of Walt Disney and Pixar Animation that are gaining huge popularity all over the world make our dreams come true. It’s fun that realizes individual member’s desire and distorts reality intentionally rather than purpose of group and common social ideology. But Chinese animation attaches importance to ’the whole story’ that is still cotrolling nationally and aiming for ‘public values.’ Even it does not reflect the phenomenon of subdivision and changes also the real image of rapid changing in China. Likewise, the animation that focus on orientation of its producer or whole community brought bad results in popularity and cinematic quality both internally and externally. Secondly, it excessively added “elements of Chinese” in work. In case of the Kung Fu Panda, it produced in the USA but it is mentioned successful case that added some elements of Chinese. Of course, it’s not like perfectly Chinese but difficult ideology that hard to understand was replaced with the interest simply and clearly. In contrast, analysis object, The Secret of Jungle of Avatar was produced with high technology of 3D computer graphics. But it is North America’s code of humor except Chinese comedy and storyline of instruction. Calabash Brothers is more like Chinese that made perfectly Chinese specific color. But excessive Chinese narrative, music and others don’t draw current viewers interest including Chinese people. Therefore, Chinese animation is relatively undervalued because of these two kinds of thing that process of identity and cause. Based on above factors, I want to make it clear to process of change of Chinese identity and reason of undervalue.