금지된 기억의 다시 쓰기: 왕난푸 다큐멘터리의 스토리텔링 - ≪한 자녀 국가≫와 ≪같은 호흡 속에서≫를 중심으로

장동천 고려대학교 중국학연구소 2022 中國學論叢 Vol.- No.78

Nanfu Wang(王男栿), as a Chinese descent director working in the United States examined the COVID-19 pandemic effect on the political background and trauma through In the Same Breath(2021). Previously, she released sensational work called One Child Nation(2019), which display various absurdity aspects and wounds that existed in the implementation of China’s “One Child Policy.” These two films have great similarities within which distinguishes them from her previous works. In these two her works, narratives about families and communities were treated as important, various insights into problems on both a macroscopic and microscopic level. In terms of technology expression, it makes remarkable leaps. This study analyzed the storytelling characteristics through her two documentaries. First, it analyzed at Wang’s creative journey as well as her cultural background, in her two works she birthed. Second, it also studied the storytelling characteristics, which is interpreted from the family narrative toward the trans-national narrative with the theme consciousness. Third, it learned about the role of narration, which is Wang’s documentary’s major feature. Finally, it analyzed several aspects of expression for the exposure to irrationality and the traumatic realization that her storytelling aims for.

후쥔취안 한국 로케이션 사극 영화의 초국적 지리 상상

장동천 한국중국현대문학학회 2020 中國現代文學 Vol.0 No.94

During the Cold-War, in the East Asian capitalist camp, unique exchanges through cinema between South Korea and overseas Chinese cultures, such as Hong Kong and Taiwan, had continued. The results of this series of exchanges were then called “Korea-China joint cinema” in S. Korea, and spurred trans-national imagination within the limits caused by the Cold-War, and facilitated interaction. This paper intended to consider the background and meaning of the location filming in S. Korea, through two Costume Films Raining in the Mountain(空山靈雨) and Legend of the Mountain(山中傳奇)(both were released in 1978), those were shooted in S. Korea by King Hu(胡金銓). So far, critics' interest in King Hu's films has largely been focused on hardcore martial arts films. These two films were relatively out of focus of discussion. However, due to remastering work which is recently led by the TFI(Taiwan Film Institute), the true worth of the two films revealed, and the necessity for a re-evaluation emerged. Accordingly, This paper analytically examined the effects of the location filming on the work, with method of context study. Especially, by categorizing location problems into spaces and places, this tried researching deeply how recognition and materialization of spaces, ‘hommage’ and ‘styling’ about places are embodied out. Of course, exploring the creator's perception and deed about location filming in this paper, will ultimately be connected to the interpretation of the film text itself.

전기(前期) 창조사(創造社) 동인지(同人誌)에 나타난 5, 4 낭만주의의 곤혹-욱달부(郁達夫)의 <춘풍침취적만상(春風?醉的晩上)>을 중심으로-

장동천,강에스더 영남중국어문학회 2012 중국어문학 Vol.0 No.61

隨著20世紀20年代中國現代文學進入到‘發展期’,包括‘文學硏究會’和‘創造社’在內的各種純文學團體開始陸續出現。一般來說,創造社被劃爲‘爲藝術而藝術’、‘藝術派’或者‘浪漫主義’的流派。但是我們應該知道,一個文學流派裏常常有各種非常複雜的傾向,決不能簡單地用一句話來斷定一個流派的特性。那?,我們該??理解創造社追求唯美主義的傾向、反對功利主義的立場、參與五四啓蒙運動的特性?說到底,創造社具有這些特征本身就是極端的矛盾,換句話來說,創造社由於社會性和藝術性的對立而陷入了自身的矛盾。他們盡管反對故意表現出功利主義目標的藝術,但還是間接地肯定了影響人生的藝術,他們明顯是希望通過他們的作品暴露出社會的各種弊端。例如,<春風?醉的晩上>是郁達夫在《創造季刊》第2卷第2號上發表的前期小說之一。<春風?醉的晩上>內容本身分明是接近於現實主義,但是從情節展開的方式來看,?可以發現一種浪漫主義的面貌。總而言之,<春風?醉的晩上>可以說是把‘現實主義內容’裝在‘浪漫主義形式’裏面的作品。看起來互相沖突,而且給創造社的創作意識帶來某種矛盾的這兩種文藝思潮,?在作品裏渾然一體。創造社在‘反抗’、‘創造’的旗幟下,運用從西方傳來的多種文藝思潮,參與了中國當時的社會啓蒙運動。可以說,這是創造社作家們在認眞考慮讀者需要的同時,?沒有喪失追求自身文學理想的結果。

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.

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.-

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.

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.-

‘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.

중국 근대건축의 문학적 장소성- 작품의 표현 양상과 문학사적의 장소화에 관한 시론

장동천 한국중국언어문화연구회 2013 한중언어문화연구 Vol.- No.31

A place is the result of effects of time. Places are made up of memories which are the accumulation of history. The meanings of traditional places are based on the various experiences when those places became one with people. Producing the nature of a certain place through memories of these experiences is called "Sense of Place." Architecture is the realization of a place's meaning. Because literature is the development of life's beauty, sense of place, which is the accumulation of life's history and information, can become a type of dialogue which acts as the architecture of literature. In this case, architecture comes to have a literary sense of place through an internal context rather than an outside symbol. In China, there have been many pieces of literature which embody the sense of place of traditional architecture. However, after the formation of modern space, many authors felt the shock of liquid modernity. Through interpretation of this new space, these authors were able to escape traditional places and move to a new sense of place. Although China's modern architecture has a short history and was formed during a period of colonization, authors were able to create a layered sense of place in their literary works through various interpretations. In the larger literary cultural topos, Chinese modern space reveals many cross sections through literary sense of place progressed through architecture. The realization of sense of place is more related to collective experiences than individual experiences. These collective memories are inseparable from cultural regionality. Therefore, sense of place is the driving force behind treating regionality as the central focus of culture discourse. The Chinese have recently instigated a restoration project of urban space of the early modern period based on these characteristics of space. This is not merely a project to restore the historic landscape, but it also contains the strategy of local governments to sell their regional cultural places. Therefore, regional historic sites of literature undergo a remembrance making process and receive a new sense of place. These places are then consumed as literary places to satisfy the nostalgia of the people. This article was written based on the social actions which arise due to the connection of literature and architecture. This article creates two categories of sense of place expressed through literature and place making of historical sites of literature and examines Chinese sense of place of modern Chinese architecture as seen in modern literature. Because this article is a diachronic examination of sense of place, the quoted examples are compositions which run parallel to the concept of sense of place rather than causal relationships with literary history.

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.