‘대일통(大一統)’ 이데올로그의 대중문화적 구현 — 왕샤오솨이(王小帥) 감독의 영화 ≪地久天長≫의 ‘소일통(小一統)’ 이데올로그 비판 (A Study on the Realization of the Grand Unification Ideology in Popular Culture)

서지정보

· 발행기관 : 고려대학교 중국학연구소
· 수록지 정보 : 중국학논총 / 73호 / 159 ~ 181페이지
· 저자명 : 고점복

초록

This paper explores the relationship between mainstream political ideology in China and popular culture with the subject of ≪地久天長, So Long, My Son≫ directed by Wangxiaoshuai(王小帥). China’s traditional ruling ideology, represented by ‘grand unification(大一統)’, has a long history and is still functioning today. In particular, it plays a role in packaging the Chinese integration and historical errors along with the economic rise of China. In addition, the media function of popular culture, which is becoming increasingly influential, is increasing the interest of power in the film industry.
≪地久天長, So Long, My Son≫, set in the background of modern Chinese history, captures the hardships that Chinese people would have experienced, ultimately reconciliation, and their pursuit of human values amidst hardships. The reason this paper became interested in this film is because of the ideology of ‘Happy Ending’. The ‘happy ending’ is a general ending of traditional Chinese literature, and in the early 20th century it was regarded as a flaw in Chinese literature. Some commentators have also discovered the flaws of nationality in ‘Happy Ending’. However, as the spread of popular culture increased and commercial interest in popular culture increased, the happy ending became the ending of most commercial films. Moreover, along with the reinforcement of the media function of popular culture, the direct and indirect intervention of power is also becoming more frequent. As a result, popular culture is in double trouble. It is the creation of profit and the spread of the governing ideology. Of course, a happy ending can be said to be the most suitable ending for the public looking for spiritual comfort and entertainment. The problem is that commercial and political strategies are added to them, and there is a risk that the public’s preferences may be manipulated or submerged in the ideological strategy. This paper’s judgment is that ≪地久天長, So Long, My Son≫ is also not free from such things.

영어초록

This paper explores the relationship between mainstream political ideology in China and popular culture with the subject of ≪地久天長, So Long, My Son≫ directed by Wangxiaoshuai(王小帥). China’s traditional ruling ideology, represented by ‘grand unification(大一統)’, has a long history and is still functioning today. In particular, it plays a role in packaging the Chinese integration and historical errors along with the economic rise of China. In addition, the media function of popular culture, which is becoming increasingly influential, is increasing the interest of power in the film industry.
≪地久天長, So Long, My Son≫, set in the background of modern Chinese history, captures the hardships that Chinese people would have experienced, ultimately reconciliation, and their pursuit of human values amidst hardships. The reason this paper became interested in this film is because of the ideology of ‘Happy Ending’. The ‘happy ending’ is a general ending of traditional Chinese literature, and in the early 20th century it was regarded as a flaw in Chinese literature. Some commentators have also discovered the flaws of nationality in ‘Happy Ending’. However, as the spread of popular culture increased and commercial interest in popular culture increased, the happy ending became the ending of most commercial films. Moreover, along with the reinforcement of the media function of popular culture, the direct and indirect intervention of power is also becoming more frequent. As a result, popular culture is in double trouble. It is the creation of profit and the spread of the governing ideology. Of course, a happy ending can be said to be the most suitable ending for the public looking for spiritual comfort and entertainment. The problem is that commercial and political strategies are added to them, and there is a risk that the public’s preferences may be manipulated or submerged in the ideological strategy. This paper’s judgment is that ≪地久天長, So Long, My Son≫ is also not free from such things.

참고자료

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