‘경이로운 현실’의 마술적 사실주의 <스틸 라이프> ('marvelous reality' in Magical realism, 'Still Life')

서지정보

· 발행기관 : 한국영화학회
· 수록지 정보 : 영화연구 / 40호 / 101 ~ 126페이지
· 저자명 : 신정범

초록

Upon graduation, Jia embarked on his first feature length film <Xiao Wu 1997>, emerged out of Jia's desire to capture the massive changes that had happened to his home in the past few years. After <Xiao Wu>, he made <Platform 2000>, <Unknown Pleasure 2002>, <The World 2004>, <Still Life 2006>. Jia's films treat themes of alienated youth, contemporary Chinese history and globalization, as well as his realist style.
<The World>, in particular, with its portrayal of gaudy theme park filled with recreations of foreign landmarks is often noted for its critique of globalization of China. Taking place in Beijing's World Park, the film was also Jia's first to take place outside of his home province of Shanxi. This time he looks like giving up his realist style but he focus on creation of space of assumption to show us the desire of the lower classes depending on a surrealist's "marvelous". From this We can guess Alejo Carpentier's term "lo real maravilloso americano", "marvelous American reality".
Jia returned with his film <Still Life> along with his experimentation of surrealist's "marvelous". The film is about two people searching for their spouses in the backdrop of the Three Gorges Dam. Jia's work speaks to a vision of "authentic" Chinese life, and his consistent return to the themes of alienation and disorientation fly in the face of the work of older filmmakers who present more idealized understandings of Chinese society.
Visually, he creates a new style which looks like magical realism to draw attention to struggling people with natural environment and their own history. The film has also drawn notice for its element of "marvelous reality" including two images : one of a black concrete building, which rather abruptly launches upward like a rocket and a the tight-rope walker near the end of the film, which serves to show us Jia's new style which come from Alejo Carpentier's "lo real maravilloso", "marvelous reality".

영어초록

Upon graduation, Jia embarked on his first feature length film <Xiao Wu 1997>, emerged out of Jia's desire to capture the massive changes that had happened to his home in the past few years. After <Xiao Wu>, he made <Platform 2000>, <Unknown Pleasure 2002>, <The World 2004>, <Still Life 2006>. Jia's films treat themes of alienated youth, contemporary Chinese history and globalization, as well as his realist style.
<The World>, in particular, with its portrayal of gaudy theme park filled with recreations of foreign landmarks is often noted for its critique of globalization of China. Taking place in Beijing's World Park, the film was also Jia's first to take place outside of his home province of Shanxi. This time he looks like giving up his realist style but he focus on creation of space of assumption to show us the desire of the lower classes depending on a surrealist's "marvelous". From this We can guess Alejo Carpentier's term "lo real maravilloso americano", "marvelous American reality".
Jia returned with his film <Still Life> along with his experimentation of surrealist's "marvelous". The film is about two people searching for their spouses in the backdrop of the Three Gorges Dam. Jia's work speaks to a vision of "authentic" Chinese life, and his consistent return to the themes of alienation and disorientation fly in the face of the work of older filmmakers who present more idealized understandings of Chinese society.
Visually, he creates a new style which looks like magical realism to draw attention to struggling people with natural environment and their own history. The film has also drawn notice for its element of "marvelous reality" including two images : one of a black concrete building, which rather abruptly launches upward like a rocket and a the tight-rope walker near the end of the film, which serves to show us Jia's new style which come from Alejo Carpentier's "lo real maravilloso", "marvelous reality".

참고자료

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