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After reform and opening up, China rapidly developed social conflict and economic differentiation along with economic development. Among other things, the gap between urban and rural areas due to the permit of ownership patterns and the gap between businesses has resulted in China s new conflict as its economic speed is commensurate with that of its economy. In particular, the entry from rural areas into urban areas caused a drastic change in the social hierarchy, resulting in economic disparity and thought-provoking conflicts along with urban and rural gaps. As these problems developed remarkably, many young Chinese directors videotaped the urban poor, the farmers and the wandering young, who had been marginalized. In particular, Ziazhangker was the director who deals with social and hierarchical conflicts internationally with deep reflection in this sense of question. He is conveying the meanings of them to us in his films, not to mention them seriously. 개혁개방이후 중국은 경제적 발전에 따라 사회적 갈등과 경제적 분화가 급속히 일어났다. 그 중에서도 소유형태의 허용으로 인한 도시와 농촌간의 격차, 기업 간의 격차 등이 생기면서 중국은 새로운 갈등문제가 경제속도에 상응하면서 발생하게 된 것이다. 특히 농촌에서의 도시로의 진입은 사회 계층구조에 급격한 변화를 발생시켜서 도농간의 격차와 함께 경제적 격차와 사고적 갈등을 일으키게 되었다. 이러한 문제들이 현저하게 발생하게 되자 많은 중국의 젊은 감독들이 그동안 소외되어 왔던 도시 빈민들, 농공민, 방황하는 젊은이들을 소재로 영상으로 담아내었다. 특히 이러한 문제의식에 깊이 있는 성찰로 사회적, 계층적 갈등문제를 국제적으로 다루고 있는 감독이 지아장커(賈樟柯) 감독이었다. 그는 그의 영화들 속에서 그 의미들을 우리들에게 심각하지 않으면서도 신랄하게 전달해주고 있다.
Both Kings Chung’ryeol and Chungseon had Jaeshin and Miljik dignitaries man posts inside the traditional Six “Bu” Ministries(“Yukbu”), the “Eosadae” Monitor office and the “Samsa” office (in charge of financial spending). By having them assume those posts in a specific manner, they tried to run their governments in their own ways. But there were some problems in king Chung’ryeol’s way of linking individual offices with either Jaeshin or Miljik figures. And king Chungseon apparently wanted to fix some of those problems, as he positioned human resources in a fashion different from his own father’s. King Chungseon wanted to expand the group of Jaeshin figures who were allowed to man high-ranking Six ministerial posts (the Advisory “Pansa” post and the Resident “Sangseo” post), from only the first and second Jaeshin figures (as it had been during king Chung’ryeol’s days) to middle and even junior ones, while also broadening the range of Miljik figures from junior and mid-level ones to high-ranking senior ones. This move on Chungseon’s part allowed both the Jaeshin and Miljik figures to increase their influence in the operations of the ‘Bu’ Ministries, but at the same time the Ministries as well were able to reinforce their status and voice in dynastic governing, with [more diverse] Jaeshin figures and [more high-ranking] Miljik figures newly helming the ministries. In the meantime, Chungseon decided not to allow Jaeshin figures to man either the advisory Chief Monitor(Eosadae [called ‘Gamchalsa’ these days] Pansa) seat [except the First Jaeshin] or the resident Head Monitor(Gamchal Daebu) seat, and refrained from appointing junior Miljik figures to the Gamchal Daebu (which was also called Daesaheon some times) seat as well, with the intention of further ensuring autonomous control of the Eosadae (named Saheonbu at the time) office itself. While doing so, he still allowed higher level of Miljik figures to assume the post of resident Head Monitor(Eosa Daebu/Daesaheon), in order to maintain necessary amount of power and influence required by the office to do its original job, monitoring and prosecuting. And in running the Samsa office, Chungseon had both mid-level Jaeshin and Miljik figures to man the resident Head commissioner(Samsa-sa) seat in several occasions. Evidently, he must have reasoned that in the appointment of seats in that office, alternating between Jaeshin and Miljik figures would enable both of them to place their counterparts in check, and prevent the other party from wielding too much power, in deliberations concerning financial spending. All these agendas featured in king Chungseon’s positioning of human resources inside the Goryeo government may have caused inconveniences, discomfort and even dissension among governmental officials. And that may have had something to do with the negative portrayal of king Chungseon’s political governance in Goryeo-sa and other records.
Horizontal relationship between soldiers and village people shown in the movie <Welcome to Dongmakgol> enabled us to discover director’s will to pursue an invisible imagined community through the movie and the village is forming a place of communication for the general public who dream a new world for an ethnic group through it. Also, the novel 『BianCheng』 shows pure and simple appearance of Miaozu(苗族) by forming an ideal world named ‘chatong(茶?): tea village’ as a manifestation of author‘s patriotism, expressing the author’s will to recover invisible horizontal relationship throughout the war-torn China jumping over Xi?ngx?(湘西) area. Evaluating him simply as a revivalist, purist or pacifist is no more than a very glimpse evaluation of his world of art works. Shen congwen‘s will to pursue such an imagined community introduced in this thesis is not reflected in a variety of evaluations on his work. Thus, this thesis inquired into the possibility of his will toward an imagined ethnic community by comparing through a Korean movie.