잃어버린 시간에 대한 성찰 - <山河故人>과 <江湖儿女>를 중심으로 (Reflection on Lost Time : Focusing on Mountains May Depart(山河故人) and Ash Is Purest White(江湖儿女) by Jia Zhangke(贾樟柯))

서지정보

· 발행기관 : 대한중국학회
· 수록지 정보 : 중국학 / 77호 / 453 ~ 473페이지
· 저자명 : 박민수

초록

지아장커는 주로 개혁개방으로 인해 소외된 주변인과 자본주의 폭력에 노출된 하층 노동자의 빈곤한 삶에 대하여 다루어왔다. 그러나 2015년의 <산하고인>과 2018년의 <강호아녀>는 이전까지 주로 다루던 자본주의화 된 공간에서 더 나아가 선형적인 시간의 흐름, 즉 과거부터 현재 혹은 현재를 거슬러 미래의 시간까지 다루고 있다. 본 논문은 두 편의 영화에서 나타나는 시간의 의미와 시간이 도달하는 곳에서 감독이 말하고자 하는 것이 무엇인지를 고찰하였다. 시간의 흐름에 놓인 주인공의 갈등과 고민, 흐름의 종착역에 도달한 그들의 삶을 통하여 자본주의의 발달과 더불어 잃어버린 전통적 가치, 정체성의 혼란에 대하여 밝혀내었다. 또한, 영화에서 나타나는 전통적 가치로 대변되는 ‘황허’, ‘바다’, ‘열쇠’, ‘만두’, ‘관공상(关公像)’, ‘북소리’ 등의 영화적 장치 분석을 통하여 지아장커의 새로운 영화스타일을 분석하였다.

영어초록

Jia Zhangke(贾樟柯) has dealt with the poor lives of people who are marginalized mainly due to the reform and opening and of lower-bracket workmen exposed to the capitalist violence. However, the movie titled Mountains May Depart(山河故人) in 2015 and the movie titled Ash Is Purest White(江湖儿女) in 2018 are addressing a flow of time, namely, from the past to the present or to the future by going back to the present while going further from the space of capitalism and industrialization that was mainly covered until before.
The story was strengthened from the realism that had literally shown the reality of alienation and oppression in the existing movies. The camera, which had stayed in the hard life of the people in the lower class, is moving to the love between men and women. What's different from the existing movies is, above all, the point that is looking at the main characters’ love and their ups and downs for a long time.
This study considered what the director intends to say in the meaning of time and in the place where time reaches that are shown in two movies. First of all, it contemplated the conflict and agony in the main characters who are put in a flow of time, and their lives that arrived at the end of time. And along with the development in capitalism, the lost traditional value, the identity crisis, and the lack of communication between father and son were clarified.
Finally, Jia Zhangke’s new movie style was analyzed through parsing metaphoric devices such as ‘river,’ ‘key,’ ‘Seollal,’ ‘dumpling,’ ‘Guan Yu(關羽),’ ‘volcanic ash’ that are represented by the traditional values that appear in movies.

참고자료

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