공간의 자본화와 장소상실: 지아장커의 <소무>, <세계>, 그리고 <스틸라이프> (The Capitalization of Space and Its Placelessness in Jia Zhangke’s Pickpocket, The World, and Still Life)

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초록

This essay examines how a sense of place, which characterizes pre-capitalistic China, is lost in the transforming process of space which capital and national power produces, by focusing on the local specificities of the variety of places in Artisan Pickpocket (aka Xiao Wu), The World, and Still Life. A transition to a capitalized and modernized society in China deprives their characters of any familiar or authentic relationship to the places at which they are located. Drawing upon Edward Relph’s geographical approach to the notion of placelessness, this essay argues that the capitalized modernization of China leads to a loss of authentic meaning in the characters’ daily lives, thus distancing them from their social and natural environments. Such a sense of loss results from various modes of spatial production aimed at appropriating places felt to be of value commercially, in which characters sometimes become commodities for sale. Rather than offering judgements about landscapes according to such criteria as placelessness and authenticity, this essay explores how capitalized spaces in a post-Mao world are transformed into a kind of wasteland, which lacks a sense of place in light of the highly complex relationships between characters and places. The mode of spatial domination appears through the representation of spaces produced according to the logic of nationalism and commercialism, thus reducing the particularity of places and increasing placelessness. While paying much attention to the characters’ right of “residing,” it also shows the modes of resistance for the possibility of new spaces filled with memories and associations.

영어초록

This essay examines how a sense of place, which characterizes pre-capitalistic China, is lost in the transforming process of space which capital and national power produces, by focusing on the local specificities of the variety of places in Artisan Pickpocket (aka Xiao Wu), The World, and Still Life. A transition to a capitalized and modernized society in China deprives their characters of any familiar or authentic relationship to the places at which they are located. Drawing upon Edward Relph’s geographical approach to the notion of placelessness, this essay argues that the capitalized modernization of China leads to a loss of authentic meaning in the characters’ daily lives, thus distancing them from their social and natural environments. Such a sense of loss results from various modes of spatial production aimed at appropriating places felt to be of value commercially, in which characters sometimes become commodities for sale. Rather than offering judgements about landscapes according to such criteria as placelessness and authenticity, this essay explores how capitalized spaces in a post-Mao world are transformed into a kind of wasteland, which lacks a sense of place in light of the highly complex relationships between characters and places. The mode of spatial domination appears through the representation of spaces produced according to the logic of nationalism and commercialism, thus reducing the particularity of places and increasing placelessness. While paying much attention to the characters’ right of “residing,” it also shows the modes of resistance for the possibility of new spaces filled with memories and associations.

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