The Cultural Revolution in “Farewell My Concubine” and “To Live” 장예모의 인생, 천카이거의 패왕별희 속 문화대혁명 분석.
- 최초 등록일
- 2020.02.12
- 최종 저작일
- 2019.12
- 5페이지/
MS 워드
- 가격 1,000원
소개글
문화대혁명이 영화 패왕별희, 인생에 어떻게 나타났는지 분석.
목차
없음
본문내용
Since the Cultural Revolution(1966-1976) ended with the death of Mao Zedong, Deng Xiaoping’s Party opened up of China’s economy in1978. It lifted the bamboo curtain, revealing Chinese culture and arts, especially movies, extensively to the world. The films’ characteristics, such as unique formats, film aesthetics, exploration, and reinterpretation of Chinese history and culture, fascinated western film officials and scholars and fulfilled international curiosity about China. The western designated this flow of Chinese cinema as ‘new wave’ and entitled the Chinese directors ‘the fifth generation.’ The fifth-generation refers to a group of students who entered the Beijing Film School in 1978 when the official college entrance exam was revived in China after the end of the Cultural Revolution. The fifth-generation presented their unique film language and form that expresses the pain of history as metaphor and symbol.
참고 자료
Chen Xiaoming, et al, “The Mysterious Other: Postpolitics in Chinese Film”: Postmodernism and China 24, No. 3, (1997), pp. 123-141
Lee Hyun-Jeong, “A Vindication for the Individuals Who Used to Worship Heroes : Representation of the Cultural Revolution in the Film Farewell My Concubine” The Journal of Modern Chinese Literature 67, no.(2013): 27
