Recently, there were many new courses related in Chinese cinema in the curriculums of Department of Chinese Language and Literature(DCLL). So we, who teaches in the DCLL, have to take a positive part in Chinese cinema critics in order to make students understand Chinese culture through the cinema te...
Recently, there were many new courses related in Chinese cinema in the curriculums of Department of Chinese Language and Literature(DCLL). So we, who teaches in the DCLL, have to take a positive part in Chinese cinema critics in order to make students understand Chinese culture through the cinema text. In this article, I have tried to delve out the possibility by close examination into two cinemas, Farewell to My Concubine(覇王別姬, directed by Chen, Kai-Ge) and The Life(活着, directed by Zhang, Yi-Mou), which were taken as texts of high frequency in the class. Two texts was made by the Fifth Generation of Chinese Cinema and handled the tragedy of the history of modern China. The directors of the Fifth Generation almost remembered Cultural Revolution as a primary experience. Chen, Kai-Ge and Zhang, Yi-Mou also have some pains and laborious experiences from childhood, because of the parents. These drive them to analyze Cultural Revolution intensively. Through their cinema works, they have shown us the tragedy of China in the 20th century which was made by Mao, Ze-Dong and Chinese Communist Party(CCP). Mao and CCP would like to build a utopia, but they couldn"t. Generally speaking, the thick text provides various topics. Two texts in this article also have various subjects to talk about. First of all, they denounced the political violence on the art(Beijing opera) and the individual in socialistic China. Besides, they showed the tragedy through the concrete process of individual life. Dieyi(程蝶衣), who had carried out sex transformation in the level of the consciousness by receiving the female itself instead of female character in Beijing opera, forgot he had been a male. To him(or her), Beijing opera was the life and reality, the other things only were interval. In this point, (s)he showed us the possibility of real spirit of the arts. Homosexuality was not only an exit to escape a boring time of the interval between the acts of the play, but also a resistance against the political violence which oppressed his(her) spirit of arts. Fugui(徐福貴) who had fallen from the young nobleman down to the poor, lost family one by one. But he could act an "Ideological Subject" who couldn"t get angry or struggle against the fate of the tragedy.
Recently, there were many new courses related in Chinese cinema in the curriculums of Department of Chinese Language and Literature(DCLL). So we, who teaches in the DCLL, have to take a positive part in Chinese cinema critics in order to make students understand Chinese culture through the cinema text. In this article, I have tried to delve out the possibility by close examination into two cinemas, Farewell to My Concubine(覇王別姬, directed by Chen, Kai-Ge) and The Life(活着, directed by Zhang, Yi-Mou), which were taken as texts of high frequency in the class. Two texts was made by the Fifth Generation of Chinese Cinema and handled the tragedy of the history of modern China. The directors of the Fifth Generation almost remembered Cultural Revolution as a primary experience. Chen, Kai-Ge and Zhang, Yi-Mou also have some pains and laborious experiences from childhood, because of the parents. These drive them to analyze Cultural Revolution intensively. Through their cinema works, they have shown us the tragedy of China in the 20th century which was made by Mao, Ze-Dong and Chinese Communist Party(CCP). Mao and CCP would like to build a utopia, but they couldn"t. Generally speaking, the thick text provides various topics. Two texts in this article also have various subjects to talk about. First of all, they denounced the political violence on the art(Beijing opera) and the individual in socialistic China. Besides, they showed the tragedy through the concrete process of individual life. Dieyi(程蝶衣), who had carried out sex transformation in the level of the consciousness by receiving the female itself instead of female character in Beijing opera, forgot he had been a male. To him(or her), Beijing opera was the life and reality, the other things only were interval. In this point, (s)he showed us the possibility of real spirit of the arts. Homosexuality was not only an exit to escape a boring time of the interval between the acts of the play, but also a resistance against the political violence which oppressed his(her) spirit of arts. Fugui(徐福貴) who had fallen from the young nobleman down to the poor, lost family one by one. But he could act an "Ideological Subject" who couldn"t get angry or struggle against the fate of the tragedy.
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